DOCSLIB.ORG

July 4 Cagli Theatre, Le Marche, Italy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
July 4 Cagli Theatre, Le Marche, Italy Summer School 2020 June 26 — July 4 Cagli Theatre, Le Marche, Italy Tutors: Dame Janet Suzman ‘As You Like It’ Emma Lucia Hands ‘A Midsummer Night’s Dream’ Introduction We are delighted to be able to introduce you to our 2020 Summer School. Following feedback from previous schools, we have reduced the time this year to two plays over eight days to make it easier for participants to fit into their busy schedules. We are also extremely pleased that Dame Janet Suzman, one of the greatest actresses of her generation, is returning to lead one of the plays (As You Like It) and also that Emma Lucia Hands who led one of the workshops last year is also coming back to us. Janet played Rosalind in As You Like It with the Royal Shakespeare Company, a production that SI founder Julian Curry recalls well—as he was in the same production! Janet says: “For this course, I have chosen one of the loveliest comedies set in a magical forest which could be anywhere, including Le Marche! Early in my career I played Celia to Dorothy Tutin’s Rosalind in 1965 at the RSC, and then ma- jored up to take on Rosalind which officially opened the Dorothy Chandler Theater at the Los Angeles Music Center in 1967.” Janet’s previous workshops with us have included her ground-breaking work on Othello, and Antony and Cleopatra (her performance being one of the defining Cleopatras of the age). Emma who is leading the workshop on A Midsummer Night’s Dream, led The Two Gentlemen of Verona last year in Florence, which was received with great enthusiasm by students. The summer school takes place at the beautiful Teatro Cagli and is open to anyone over the age of 18 who is fluent in English. Those participating will get a unique insight into the plays as well as the chance to explore the dramatic styles and techniques employed to bring the works to life. Students will be able to put sections of the plays on their feet, but anyone who does not wish to take part in any practical work can of course still participate. Dame Janet Suzman Stratford theatre before it was Janet also directed Kim Cattrall in re-built. Antony and Cleopatra at the In 1987, three years before Man- Liverpool Playhouse which was Dame Janet Suzman has starred dela walked out of prison, she then revived at the Chichester in a wide range of classical and made her directorial debut with a Festival Theatre in 2012. modern drama as well as production of Othello for The directing productions both in Market Theatre in Britain and in her native South Johannesburg, which proved Africa. She has also done a good both powerful and controversial few films and mini-series in her and attracted a large black time! Her roles for the Royal audience. Shakespeare Company started John Kani was the first African with Joan of Arc in The Wars of actor in the title role whose The Roses, and continued with native tongue was not English. It Rosaline in Love's Labour's Lost, was an enormous success, and Portia in The Merchant of Venice, was filmed for Channel 4 Ophelia in Hamlet, Kate in The Television. Taming of the Shrew, Beatrice in She writes: "What I am always Much Ado About Nothing, interested in is how the plays Rosalind in As You Like It, Lavinia relate to our world. Othello at in Titus Andronicus, culminating that time suited apartheid South in a Cleopatra which was hailed Africa like a glove. There is still as magisterial, ardent and much that can be explored in a seductive. more contemporary world along Her Lavinia in Coriolanus was the those lines; racism has not very last production in the old gone away". Emma Lucia Hands London, A Midsummer Night's characters, notably the Dream for East 15, Silent Night by melancholy Jaques, who Helen Newell for Theatre In The famously philosophises All the Quarter, A History of Falling world’s a stage. Things by James Graham at the Note: Volume 1 of our founder New Vic Theatre, A Journey Julian Curry’s Shakespeare on Through Cornish Poetry, Prose Stage includes an interview with and Music with Susan Rebecca Hall on playing Penhaligon, Richard Bucket Rosalind. Volume 2 contains an Overflows with Clive Swift and A interview with Alan Rickman Christmas Carol. on Jaques. She also directed a world premiere of a David Mamet A Midsummer Night's Dream Emma is the Artistic Director for play, The Vikings and Darwin, at Here Shakespeare yoked the post-graduate Diploma the National Theatre as part of together improbable dramatic Programmes at Drama Studio the New Connections Scheme. bedfellows. The marriage of two London. figures from classical mythology After gaining a BA in Drama and Notes on the Plays is interwoven with the romantic Theatre Studies from Royal cross-currents of four young Athenians, the rehearsals of a Holloway, University of London As You Like It and an MA in Theatre Directing group of amateur actors, and On the surface AYLI is a simple, squabbles between the king and from Middlesex University and pastoral romantic comedy. An GITIS, Moscow, Emma has queen of the fairies. The topsy- exploration of love is at its heart turvy action is propelled by the worked in theatre in the UK, and a happy ending is never in North America and Asia. hob-goblin Puck, who drops doubt. But at a deeper level it aphrodisiac juice from a small Directing credits as an Associate touches on a host of subjects flower onto sleeping eyelids. Director for Clwyd Theatr Cymru such as usurpation and injustice, Sometimes he hits the right include: The Herbal Bed by Peter forgiveness, gender, court and eyelids, sometimes the wrong Whelan, Ghosts by Henrik Ibsen country life, aging and death. ones. Preposterously far-fetched adapted by Mike Poulton, Arms Shakespeare wrote a handful of though it may sound, the and the Man by George Bernard plays in which the star part is resulting hybrid is effortlessly Shaw, Copenhagen by Michael unarguably female. Rosalind is enjoyable. We easily fall under Frayn, Educating Rita by Willy one of his most fully rounded and its spell, and have no trouble Russell, God of Carnage by beguiling characters, with the suspending our disbelief when Yasmina Reza, A Doll’s House by amusing complication that the the Fairy Queen falls passionately Henrik Ibsen, in a new version by role would originally have been in love with a country bumpkin Frank McGuinness, taken by a boy actor who, in the wearing an ass's head. It is one Shakespeare’s Will by Vern course of the action, dresses up of Shakespeare's most enduringly Thiessen and Oleanna by David as a man who then pretends to popular comedies. Mamet. She also directed a be a woman. Note: Julian Curry’s book national tour of Oleanna for Shakespeare on Stage Volume 2 Theatre Tours International. The plot follows Rosalind as she flees persecution in her uncle's includes an interview with Sara Other recent work includes: a court, accompanied by her Kestelman on playing Titania/ musical version of Bernarda Alba, cousin Celia and the clown Hippolyita in Peter Brook’s Patrick Marber's Closer at Touchstone, to find safety in the legendary production of Vienna's English Theatre, As You Forest of Arden. There she finds the play. Like It, The Cherry Orchard and love with Orlando and Uncle Vanya for Drama Studio encounters memorable The magnificently restored Teatro Cagli is managed by one of Shakespeare in Italy’s founders, Sandro Pascucci. It is located behind the Town Hall and is a perfect Italian 19th century opera house complete with an orchestra pit. Dating from the 1870s it can seat 500 people but retains a remarkable intimacy and charm. There are more period theatres in Le Marche than in any other part of Italy. It is called the region of 100 theatres. It is not unusual to visit a small town, such as Cagli, or village with the most magnificent theatre hidden amongst its buildings. The town of Cagli is set against a backdrop of some of the highest peaks in the northern Marche. It has welcomed strangers for more than 2,000 years—since the days when ancient Rome made it an important staging post on the Via Flaminia, one of the oldest and most important Roman roads in Europe. Today it still retains its Roman grid plan, all roads leading to a proper central square, complete with a florid fountain, a steely medieval town hall, and huddles of elderly men deeply engrossed in chatter. Gubbio Amphitheatre Above is the amphitheatre at Gubbio which we will visit. It was constructed around 20 BC from large blocks of limestone. It has two orders of arcades, some of which are still remaining. When it was built it would have held up to 6,000 spectators and was amongst the largest examples of its kind. The hand of the great quattrocento military architect Francesco di Giorgio Martini is unmistakable in the dramatic oval torrione, or tower to the west of the piazza, all that remains of the citadel that Duke Federico da Montefeltro had built above Cagli towards the end of the 15th Century. You can search for the fresco of the Madonna and Child with Saints by Giovanni Santi—it is to be found in the church of San Domenico near the hospital. Visitors are just as happy wandering along the medieval streets looking out for some of the many aristocratic palazzi that abound or enjoying a drink at a table outside one of the pleasant bars on the main square - a great place to watch Italian daily life.
Load more

Recommended publications
  • Looking for Sex in Shakespeare Stanley Wells Frontmatter More Information
    Cambridge University Press 0521540399 - Looking for Sex in Shakespeare Stanley Wells Frontmatter More information Looking for Sex in Shakespeare Stanley Wells is one of the best-known and most versatile of Shakespeare scholars. His new book, written with characteris- tic verve and accessibility, considers how far sexual meaning in Shakespeare’s writing is a matter of interpretation by actors, directors and critics. Tracing interpretations of Shakespearian bawdy and innuendo from eighteenth-century editors to mod- ern scholars and critics, Wells pays special attention to recent sexually oriented studies of A Midsummer Night’s Dream, once regarded as the most innocent of its author’s plays. He con- siders the sonnets, some of which are addressed to a man, and asks whether they imply same-sex desire in the author, or are quasi-dramatic projections of the writer’s imagination. Finally, he looks at how male-to-male relationships in the plays have been interpreted as sexual in both criticism and performance. Stanley Wells’s lively, provocative and open-minded new book will appeal to a broad readership of students, theatregoers and Shakespeare lovers. stanley wells has devoted most of his life to teaching, edit- ing and writing about Shakespeare and his contemporaries. He was Director of the Shakespeare Institute from 1987 to 1997. He is General Editor of the Oxford editions of Shakespeare, edited King Lear for the multi-volume Oxford Shakespeare, and has been associated with the New Penguin edition, for which he edited several plays, since its inception. His publications in- clude Shakespeare: A Dramatic Life, Shakespeare: For All Time (2002)and(withPaulEdmondson)Shakespeare’sSonnets(forth- coming in 2004).
    [Show full text]
  • Performing Othello in South Africa Natasha Distiller
    Authentic Protest, Authentic Shakespeare, Authentic Africans: Performing Othello in South Africa Natasha Distiller ugh Quarshie famously declared Othello a play that black actors Hshould avoid: “If a black actor plays Othello does he not risk making racial stereotypes seem legitimate… namely that black men… are over- emotional, excitable and unstable?”1 Ben Okri, referencing the reception of Shakespeare’s tragedy by critics and audiences,2 said that if Othello were not originally a play about race (as indeed it was not in the modern sense of the term), its history has made it one.3 By now, Othello both invokes and confounds modern notions of race and racial difference, speaking powerfully to the long history of misogyny it has facilitated.4 The play also points to the ways in which race and gender are imbricated in one another and co-depend.5 The meaning of Desdemona’s whiteness and femininity depend on each other, as do Othello’s blackness and masculinity. As Celia Daileader has pointed out, Desdemona’s punishment for being an unruly woman is symbolized by and through Othello’s racial identity.6 One might say that Othello both is and is not about race and racial difference, a play that invokes a relation between gender and the range of human cultures, religions, civic belongings, and/or appearances that we now encode as “race.” Whichever ideological frame one chooses to read through (an early modern construction of Moorishness, a postmodern antiracism, a feminist awareness of domestic violence, a combination of these, or any of the other possible lenses one could apply), to understand the play one must recognize the ways it explores the experience of difference as emotionally fraught at best, potentially dangerous at worst.
    [Show full text]
  • Antonia Lianos
    DANA LYN BARON SAG-AFTRA/AEA Aqua Talent Ad Astra Management Courtney 310.859.8889 Steven 818.267.7779 [email protected] [email protected] TELEVISION Bosch Guest Star AMAZON/Daisy von Scherler Mayer Shameless Guest Star SHOWTIME/Chris Chulack Assassination of Gianni Versace Co-Star FX/Matt Bomer This is Us Co-Star NBC/Ken Olin We Bare Bears Guest Star CN/Kristi Reed Criminal Minds Co-Star CBS/Rosemary Rodriguez General Hospital Recurring ABC/Various FILM Mank Supporting Dir: David Fincher Front Yard Starring Dir: Harold Hyde Dream Date Starring Dir: Rene Alberta Holding On Starring Dir: Cherien Dabis Riley’s Fan Starring Dir: Gigi De Roux In Passing Lead Dir: Alan Miller Good Companion Lead Dir: Hui Eun Park Foos Your Daddy Lead Dir: Luke Patton An American Carol Supporting Dir: David Zucker Lulu on the Bridge Supporting Dir: Paul Auster THEATRE Romeo and Juliet Friar Laurence The Vagrancy Pericles Dionyza Porters of Hellsgate Twelfth Night Maria Knightsbridge Theatre Co. Macbeth Doctor New American Theatre Colony Collapse Ensemble Boston Court Pasadena The Box Molly Sacred Fools Lake Anne Laurie Road Theatre/John Levey Blackbird Ensemble Rogue Machine Getting Out Arlene New American Theatre The Women Lucy & Others New American Theatre Hurly Burly Darlene The Actors’ Loft (NY) As You Like It Rosalind Dir: Julian Curry (UK) Sugar Babies (w Rip Taylor) Ensemble San Bernadino CLO TRAINING/SPECIAL SKILLS Acting: Susan Batson (NYC), Cameron Watson, Sam Anderson Formal: Antaeus, BADA (UK), The La Jolla Playhouse Comedy: Pretty Funny Women (stand up), Upright Citizens Brigade, Groundlings Dialects: Italian, Russian, British, Cockney, Irish, New York, Southern .
    [Show full text]
  • March 2016 Conversation
    SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD IN COLLABORATION WIT H THE NATIONAL ARTS CLUB THE WNDC IN WASHINGTON THE ENGLISH-SPEAKING UNION DIANA OWEN ♦ Tuesday, February 23 As we commemorate SHAKESPEARE 400, a global celebration of the poet’s life and legacy, the GUILD is delighted to co-host a WOMAN’S NATIONAL DEMOCRATIC CLUB gathering with DIANA OWEN, who heads the SHAKESPEARE BIRTHPLACE TRUST in Stratford-upon-Avon. The TRUST presides over such treasures as Mary Arden’s House, WITTEMORE HOUSE Anne Hathaway’s Cottage, and the home in which the play- 1526 New Hampshire Avenue wright was born. It also preserves the site of New Place, the Washington mansion Shakespeare purchased in 1597, and in all prob- LUNCH 12:30. PROGRAM 1:00 ability the setting in which he died in 1616. A later owner Luncheon & Program, $30 demolished it, but the TRUST is now unearthing the struc- Program Only , $10 ture’s foundations and adding a new museum to the beautiful garden that has long delighted visitors. As she describes this exciting project, Ms. Owen will also talk about dozens of anniversary festivities, among them an April 23 BBC gala that will feature such stars as Dame Judi Dench and Sir Ian McKellen. PEGGY O’BRIEN ♦ Wednesday, February 24 Shifting to the FOLGER SHAKESPEARE LIBRARY, an American institution that is marking SHAKESPEARE 400 with a national tour of First Folios, we’re pleased to welcome PEGGY O’BRIEN, who established the Library’s globally acclaimed outreach initiatives to teachers and NATIONAL ARTS CLUB students in the 1980s and published a widely circulated 15 Gramercy Park South Shakespeare Set Free series with Simon and Schuster.
    [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]
  • Christmas Quiz 2018
    T H E S H A K E S P E A R E B I R T H P L A C E T R U S T CHRISTMAS QUIZ 2018 Email your answers to [email protected] by 2nd January 2019 Or return this quiz to: Development, The Shakespeare Birthplace Trust, Stratford upon Avon, CV37 6QW Entry is by suggested donation of £5 with a chance to win a £50 voucher to spend in the gift shops. Send your cheque to this address or make your donation online: shakespeare.org.uk/donate Winners will be notified after 2nd January 2019. Answers will be sent to all those who enter after 2nd January 2019. 1. Which of the following phrases 6. Within the area during a sixty year was not coined by Shakespeare? period, Shakespeare was one in only a. Cat got your tongue? how many men to marry before age b. Wild-goose chase twenty? c. Break the ice a. Three 2. Which of Shakespeare's children b. Five inherited the most when he died? c. Eight a. Susanna 7. Which of Shakespeare’s b. Judith contemporaries wrote the introduction c. Hamnet to the first folio? 3. Why was Shakespeare’s father a. Thomas Kyd John Shakespeare granted a coat of b. Christopher Marlowe arms? c. Ben Jonson a. John had gained favour from 8. Shakespeare was the _____ child many in higher ranks due to his born to his parents. excellent craftsmanship of a. First gloves b. Third b. Due to the military service of c.
    [Show full text]
  • Shakespeare, William Shakespeare
    Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir.
    [Show full text]
  • Theatre Archive Project: Interview with David Simeon
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk David Simeon – interview transcript Interviewer: Kate Harris 10 November 2006 Actor. Alexandra Theatre, Birmingham; censorship; comedy; drama schools; Cyril Fletcher; John Gielgud; The Guildhall School of Drama; Johnson over Jordan; The Method; John Osborne; pantomime; Harold Pinter; repertory; Derek Salberg; Reggie Salberg; Salisbury theatre; television; Dorothy Tutin; variety. KH: This is an interview on 10th November with David Simeon interviewed by Kate Harris. Can I just confirm that I have got your permission for copyright on this interview? DS: You do indeed, absolutely, yes. KH: That’s great, thank you. I would just like to start by asking you about the beginning of your career, how you became interested in working in the theatre. DS: My first knowledge that I was going to be an actor was when I was round about four years old, and I’ll tell you… My grandmother taught me how to read by the time I was two. OK, not Proust, but I could read by the time I got to infant school. I must tell you this story because it actually has a bearing on what happened later. When I got to infant school I was four and I could, as I said, already read and so I was terribly bored watching people put A, B, C and D up on the blackboard, and by the time I was about five, suddenly this horrible man came into the second form of the infants who turned out to be the headmaster of the primary school opposite and he ordered me out, took me across the road, put me on a dais in front of the whole of the primary school, and I was made to read from the Bible at the age of five.
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Original Writer Title Genre Running Time Year Director/Writer Actor
    Original Running Title Genre Year Director/Writer Actor/Actress Keywords Writer Time Katharine Hepburn, Alcoholism, Drama, Tony Richardson; Edward Albee A Delicate Balance 133 min 1973 Paul Scofield, Loss, Play Edward Albee Lee Remick Family Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. I Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 54 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. II Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. III Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. IV Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 50 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. V Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 52 min 1995 Austen,
    [Show full text]
  • FROM LENIN to KHRUSHCHEV STATEMENT REQUIRED by the ACT of AUGUST 24, 1912, AS by William F
    and militantly protested America's ruth­ less oppression of Negroes. The U.S. Monroe, N. C. Government seeks my arrest at the re­ quest of Union County Klansmen be­ The American people have been who witnessed the incident say Wil­ cause my newsletter, The Crusader, was shocked and horrified, time and again, liams accorded the white couple protec­ in opposition to Kennedy's censorship at the blatant injustice of the courts, tion which the Stegalls had sought. plan. the police and the legislatures of the Racist Monroe officials, who collab­ "In conjunction with the KKK, the South. Their rabid racism has not only orate openly with known KKK leaders, U.S. Government is seeking to lynch mocked the most elementary sense of after six years of struggle with the me for political reasons. The U.S. Gov­ human decency in this country, and in­ militant Monroe anti-segregation lead­ ernment's interest is based solely upon ternationally, but has violated both the er, are undoubtedly quite capable of the fact that I refuse to be an Uncle spirit and the letter of the law of this concocting a frame-up against Robert Tom apologist for the State Department land. Williams. It would seem that this was and because I have openly supported Time and again, the majority of the the case. Even after consultation with Revolutionary Cuba. the police, Mrs. Stegall told North American people have voiced their in­ "The U.S. Government knows that I Carolina newspapers that Williams had dignation by demanding federal enforce­ am innocent of any crime.
    [Show full text]