J. B. Priestley Biography
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Tom Weston-Jones
TOM WESTON-JONES Film includes: Captain America RAF Pilot Joe Johnston Marvel Enterprises Television includes: Warrior Richard Lee Jonathan Tropper Cinemax Troy Hector Owen Harris Kudos The Terror Lt Graham Gore Edward Berger AMC Dickensian Meriwether Harry Bradbeer Red Planet Not Safe For Work Anthony Kieron Hawke Quite Scary Films Copper Kevin Corcoran Tom Fontana Cineflix World Without End Merthin Michael Caton-Jones Tandem Productions Spooks Sasha Allrich Riley Kudos Nightwatch Jack Brown Richard Laxton BBC Theatre includes: Merchant of Venice Bassanio Rupert Goold Almeida Theatre Co Enlightenment Adam Ed Hall Hampstead Theatre Translations Doalty Roger Haines The Tobacco Factory Someone Who'll Watch Over Me Adam Hannah Drake Alma Theatre, Bristole The Country Wife Horner Jenny Stephens Old Vic Main Stage The Good Companions Inigo Jolifant Sue Wilson Bristol Old Vic Studio Theatre whilst in training includes: Pornography 4 Gemma Fairlie BOVTS The Beaux Stratagem Squire Sullen Andrew Hilton BOVTS Bluebird Richard Sonia Fraser BOVTS Measure for Measure Angelo Dick Tuckey BOVTS Three Sisters Vershinin Dan Bird BOVTS One Flew Over the Cuckoo's Nest R.P. McMurphy Poppy Corbett Royal Holloway Angels in America Joe Pitt Alistair Nargate Royal Holloway A Streetcar Named Desire Stanley Tom Pinam Royal Holloway Training: Bristol Old Vic Other Skills include: Stage Combat: BADC Level 1 (Distinction) BADC Level Advanced (Gold) Dance: Jazz, Tap, Basic ballet, Period Dance Sport: Basketball, iceskating, Roller blading, rugby, football, surfing, tennis. Singing: Baritone Music: Strong guitar, Bongo, Saxophone. Tom Weston-Jones 1 Markham Froggatt & Irwin Limited Registered Office: Bank Gallery, High Street, Kenilworth, Warwickshire, CV8 1LY Registered in England No. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
Experiments with Time Modernity Is Fascinated by Time. the Modern
Experiments with Time Modernity is fascinated by time. The modern world has gone through profound alterations in thinking about time. Charles Lyell’s formulation of geological ‘deep time’ in the 1830s laid the foundations for modern geology and palaeontology, and therefore for thinking about the archaic status of the Earth and its life. Without Deep Time, the temporal framework which Darwinian evolution required would have been inconceivable. In the 1840s, the imposition of a standardized national (and international) ‘Railway Time’ became necessary in order for trains to run on time: without a standard and comprehensible railway transport system, the global reach of the British Empire would have been significantly foreshortened. The postulation of a ‘fourth dimension’ in the 1880s directly informed Einstein’s theories of space-time. The discovery by Edwin Hubble in 1929 of galactic red shift, led to the big bang theory of the origin of the universe, and to speculations as to whether its expansion would increase indefinitely and thus lead, in accordance with the Second Law of Thermodynamics, to the inevitable heat death of the universe, black, frozen and remote; or, whether gravity would eventually overwhelm all other forces, making the universe contract back in on itself culminating in a satisfyingly apocalyptic ‘big crunch’. Philosophically and culturally, the work of Nordau and Spengler on forms of degeneration and decline, and Bergson on time- flux, and of McTaggart and Broad on the metaphysics of time are very significant. It is therefore understandable, perhaps, that in Time and Western Man (1927), Wyndham Lewis was to criticize what he saw as the Western intelligentsia’s misguided obsession with temporality. -
HJR 23.1 Sadoff
38 The Henry James Review Appeals to Incalculability: Sex, Costume Drama, and The Golden Bowl By Dianne F. Sadoff, Miami University Sex is the last taboo in film. —Catherine Breillat Today’s “meat movie” is tomorrow’s blockbuster. —Carol J. Clover When it was released in May 2001, James Ivory’s film of Henry James’s final masterpiece, The Golden Bowl, received decidedly mixed reviews. Kevin Thomas calls it a “triumph”; Stephen Holden, “handsome, faithful, and intelligent” yet “emotionally distanced.” Given the successful—if not blockbuster—run of 1990s James movies—Jane Campion’s The Portrait of a Lady (1996), Agniezka Holland’s Washington Square (1997), and Iain Softley’s The Wings of the Dove (1997)—the reviewers, as well as the fans, must have anticipated praising The Golden Bowl. Yet the film opened in “selected cities,” as the New York Times movie ads noted; after New York and Los Angeles, it showed in university towns and large urban areas but not “at a theater near you” or at “theaters everywhere.” Never mind, however, for the Merchant Ivory film never intended to be popular with the masses. Seeking a middlebrow audience of upper-middle-class spectators and generally intelligent filmgoers, The Golden Bowl aimed to portray an English cultural heritage attractive to Anglo-bibliophiles. James’s faux British novel, however, is paradoxically peopled with foreigners: American upwardly mobile usurpers, an impoverished Italian prince, and a social-climbing but shabby ex- New York yentl. Yet James’s ironic portrait of this expatriate culture, whose characters seek only to imitate their Brit betters—if not in terms of wealth and luxury, at least in social charm and importance—failed to seem relevant to viewers The Henry James Review 23 (2002): 38–52. -
HTC AIC Program
Season 2012 AN INSPECTOR CALLS HTC Artspace Exhibition This year the Artspace celebrates the 60th Anniversary of the Heidelberg Theatre Company, featuring archival posters, programmes, photos and newspaper articles, mapping the history of the theatre and highlighting the wonderful plays presented over the years - as well as a display of interesting and beautiful costumes on the Mezzanine. The display, including costumes, for our first play this year has attracted great interest and comment The display for our second play of 2012 covers the third decade of the Company, the 1970s. These documents have been collected by various members of the theatre over many years and we thank them for being aware of the importance of preserving our history. We hope you enjoy the journey with us through the sixty memorable years of Heidelberg Theatre Company HEIDELBERG THEATRE COMPANY (HTC) BOOKINGS 03 9457 4117 ENQUIRIES 03 9455 3039 EMAIL [email protected] WEB www.htc.org.au HTC is a member of the Victorian Drama League. HTC acknowledges financial assistance from the City of Banyule. 2 HEIDELBERG THEATRE COMPANY 3 May - 193 May 2012 About the author J.B. Priestley was born in Bradford, in England’s industrial midlands. He left school at age sixteen to work for a local wool merchant, and in 1914 enlisted in the army. In his subsequent writing, Priestley often drew on his wartime experiences and memories of pre-war England. In 1919, Priestley spent three years at Cambridge, taking honours in English literature, modern history, and political science. As a fiction writer, he became a household name with ‘The Good Companions’ (1929), a comic novel about an itinerant group of music-hall entertainers that sold almost a million copies in hardcover. -
Patrick Deer, New York University British Cinema and Middlebrow Culture in the Interwar Years. by Lawrence Napper. Exeter: Un
158 THE SPACE BETWEEN “violence” and “trauma” would have benefited from the kind of subheadings offered for “war.” The lack of index entries on “militarism,” “militarization,” and the “military industrial complex” reveals a need for greater clarity about the political economy of twentieth-century warfare, despite the editors’ and contributors’ references to the massive—and continuing—shadow cast by modern war economies on literature and culture. The omission of an index entry for “Anti-americanism” may also be revealing of Rawlinson and Pi- ette’s ambivalence towards the exact place of the US and its war machine in their transatlantic study. Given the sheer richness of the range of critics and theorists cited in the footnotes to the volume, the Companion would have benefited from their inclusion in the index, which tends to be tilted towards primary texts. This could, of course, be rectified in an expanded online index, had the editors world enough and time. Overall this is a superb and invaluable resource, which will repay repeated reading and consultation. ---Patrick Deer, New York University British Cinema and Middlebrow Culture in the Interwar Years. By Lawrence Napper. Exeter: University of Exeter Press, 2009. 250 pp. $85.00 cloth. As snapshots of Britain’s twentieth-century cultural history go, the image of the interwar petit-bourgeois commuter trundling home on the “tube” to the new suburbs on London’s periphery, nose in a Penguin paperback, conjures little that is malevolent or threatening. For the intelligentsia of the period, however, both the cultural tastes and modes of living of those in the ”middle” represented a minatory development: this was the wasteland of modernity manifest. -
An Inspector Calls Is Recommended for the Artistic Team Students in Grade 8 Director……………………….JIM MEZON and Higher
An Inspector by J.B. Priestley Calls ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 Who’s Who 5 The Playwright 6-7 Director’s Notes 8 Designer’s Notes 9 Production History 10 World of the Play 11-15 Did You Know? 16 Say What? 17 Sources 18 Activities 18-29 Response Sheet 30 THE SHAW STORY MANDATE The Shaw Festival is the only theatre in the world which exclusively focuses on plays by Bernard Shaw and his contemporaries, including plays written or about the period of Shaw’s lifetime (1856 – 1950). The Shaw Festival’s mandate also includes: • Uncovered Gems – digging up undiscovered theatrical treasures, or plays which were considered major works when they were written but which have since been unjustly neglected • American Classics – we continue to celebrate the best of American theatre • Musicals – rarely-performed musical treats from the period of our mandate are re- discovered and returned to the stage WHAT MAKES • Canadian Work – to allow us to hear and promote our own stories, our own points SHAW SPECIAL of view about the mandate period. MEET THE COMPANY — OUR ENSEMBLE • Our Actors: All Shaw performers contribute to the sense of ensemble, much like the players in an orchestra. Often, smaller parts are played by actors who are leading performers in their own right, but in our “orchestra,” they support the central action helping to create a density of experiences that are both subtle and informative. • Our Designers: Every production that graces the Shaw Festival stages is built “from scratch,” from an original design. -
Jacquetta Hawkes - Basic Biographical Information
Jacquetta Hawkes - Basic biographical information Item Type Encyclopaedia article Authors Finn, Christine Citation Finn C (2018) Jacquetta Hawkes - Basic biographical information. In: Smith C (Ed) Encyclopedia of Global Archaeology. Switzerland, Springer Nature AG. Download date 29/09/2021 09:15:35 Link to Item http://hdl.handle.net/10454/18315 © Springer Nature Switzerland AG 2018 Encyclopedia of Global Archaeology 10.1007/978-3-319-51726-1_2660-1 Jacquetta Hawkes Christine Finn1 ( 1)Flinders University, Adelaide, Australia Christine Finn Email: [email protected] Basic Biographical Information J essie Jacquetta Hawkes (nee Hopkins) also known as Jacquetta Priestley was born on August 5, 1910, in Cambridge, UK. Her father was the Nobel prize-winning biochemist and Trinity don, Frederick Gowland Hopkins, and her mother, Jessie Ann, introduced her to museums. After an early declaration that she wanted to be an archaeologist, in 1929 she was one of the first to read for the new Cambridge degree of archaeology and anthropology. She left Newnham College with a first-class degree and an invitation to dig with Dorothy Garrod at Mount Carmel in Palestine. Her experience there, exposing a Neanderthal skeleton, had a marked effect on her, and she returned to this discovery in her prose and poetry. By then she had met another promising archaeologist, Christopher Hawkes, both working on a Roman site near Colchester. In 1933 they married and began what appeared to be a union of mutual interests, with a home in North London. Their only child, Nicolas, was born in 1937, and their first book together, Prehistoric Britain, was published in 1943. -
January 2014
Research Archives Acquisitions List - January 2014 Journals 1 ACOR Newsletter 25:1 (2013) J/ACORN/25:1 2 Aegyptus 89 (2009) J/AEG/89 3 Aegyptus 90 (2010) J/AEG/90 4 ArcNews 35:4 (2013-2014) J/ArcNews/35:4 5 Bulletin of the American Schools of Oriental Research 370 (2013) J/BASOR/370 6 Bulletin of the Asia Institute 23 (2009) J/BAINS/23 7 Cahiers Caribéens d'Égyptologie 17 (2013) J/CCEG/17 8 Chronique d'Égypte 88:176 (2013) J/CdÉ/88:176 9 Die Verwaltung Nubiens im Neuen Reich 18 (2013) J/MER/18 10 Iraq 75 (2013) J/IRQ/75 11 Near East Archaeological Society Bulletin 58 (2013) J/NEAS/58 12 Old Testament Abstracts 36:3 (2013) J/OTA/36:3 13 Orientalia 82:2 (2013) J/OrNS/82:2 14 Palestine Exploration Quarterly 145:4 (2013) J/PEQ/145:4 15 Phoenix 59:1 (2013) J/PHO/59:1 16 Res Antiquitatis 3 (2012) J/ResAntiq/3 17 Revue d'Assyriologie et d'Archéologie Orientale 106 (2012) J/RA/106 18 Revue d'Assyriologie et d'Archéologie Orientale 107 (2013) J/RA/107 02/25/2014 Page 1 of 13 19 Revue du Louvre 63:5 (2013) J/RL/63:5 20 Saudi Aramco World 65:1 (2014) J/AWM/65:1 21 The Bulletin of the American Society of Papyrologists 49 (2012) J/BASP/49 22 Tyndale Bulletin 64:2 (2013) J/TynBul/64:2 23 Zeitschrift für Ägyptische Sprache und Altertumskunde 140:2 (2013) J/ZÄS/140:2 Monographs, Pamphlets, and Series 24 Götter und Mischwesen in Syrien und Westmesopotamien in der Frühbronzezeit. -
Download Date 03/10/2021 02:12:06
Alive and Kicking! J.B. Priestley and the University of Bradford Item Type Article Authors Cullingford, Alison Citation Cullingford A (2016) Alive and Kicking! J.B. Priestley and the University of Bradford. The Journal of the J.B. Priestley Society.17: 46-55. Rights (c) 2016 Cullingford A. Full-text reproduced with author's permission. Download date 03/10/2021 02:12:06 Link to Item http://hdl.handle.net/10454/11433 The University of Bradford Institutional Repository http://bradscholars.brad.ac.uk This work is made available online in accordance with publisher policies. Please refer to the repository record for this item and our Policy Document available from the repository home page for further information. To see the final version of this work please visit the publisher’s website. Access to the published online version may require a subscription. Citation: Cullingford A (2016) Alive and Kicking! J.B. Priestley and the University of Bradford. The Journal of the J.B. Priestley Society.17: 46-55. Copyright statement: © 2016 Cullingford A. Full-text reproduced with author’s permission. JBP and the Uni article Bradford’s University celebrates its 50th anniversary in 2016. What better time therefore to share some stories of the links between the University and the city’s famous son? New university, old story The University of Bradford came into existence on the 18 October 1966 when the Queen signed its Royal Charter. J.B. Priestley was then 72. The University was not one of the new ‘plateglass’ universities that sprang up on greenfield sites during the 1960s boom in higher education, such as York, Sussex and East Anglia. -
J. B. Priestley in the Theater of Time
Digital Kenyon: Research, Scholarship, and Creative Exchange Faculty Publications English 4-2012 J. B. Priestley in the Theater of Time Jesse Matz Kenyon College, [email protected] Follow this and additional works at: https://digital.kenyon.edu/english_publications Part of the English Language and Literature Commons Recommended Citation Matz, Jesse, "J. B. Priestley in the Theater of Time" (2012). Modernism/Modernity 19(2): 321-342. Faculty Publications. Paper 13. https://digital.kenyon.edu/english_publications/13 This Article is brought to you for free and open access by the English at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. -%3ULHVWOH\LQWKH7KHDWHURI7LPH Jesse Matz Modernism/modernity, Volume 19, Number 2, April 2012, pp. 321-342 (Article) 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/mod.2012.0040 For additional information about this article http://muse.jhu.edu/journals/mod/summary/v019/19.2.matz.html Access provided by Kenyon College (20 Oct 2014 09:56 GMT) J. B. Priestley in the Theater of Time Jesse Matz At 10:00 p.m. on Sunday, March 17, 1963, J. B. Priestley appeared on Monitor, the BBC’s fortnightly arts program, to modernism / discuss a work in progress. It was Man and Time (1964), his modernity volume nineteen, “personal essay exploring the eternal riddle,” which surveys ways number two, time has been reckoned throughout history, time’s challenges pp 321–342. © 2012 to philosophy, science, and the arts, its character in “this age,” the johns hopkins and, finally, Priestley’s own fascination: “multiple time,” in which university press past, present, and future become at once available to human understanding. -
Angel Pavement by JB Priestley
You really must read... Angel Pavement by J.B. Priestley Simon Potter Are you looking for a novel that you can really get your teeth into this summer? Look no further! We have asked several friends of Thinking Faith to nominate one work of fiction, from any era, and tell you why ‘You really must read’ their chosen book. Simon Potter recommends our first title: J.B. Priestley’s Angel Pavement . As I type this on the hottest day Priestley (at heart a fire-and- of 2013 in the UK so far, I am brimstone Dissenter) was a reminded how much we all like passionate commentator on the the idea of London on normal, state of England – it was what cool days – and the London of characterised his post-war radio Angel Pavement (published in broadcasts – and he had a 1930) is chilly, the book’s clim- northern playwright’s superb ate wintery. Its evocation of ear for dialogue and a cynical dark City streets, the grim glory but tolerant eye for the niceties of the old Docklands, hot-water of character and social nuance. bottles in spinster digs, the Although he is remembered garish pseudo-luxury of brightly now as a pipe-puffing, ‘ho-ho’, -lit Lyons Corner Houses, and jolly Bradford lad, we can disc- the long, smoke-filled journeys ern beneath the surface a tort- by tram and bus to near-genteel ured concern and compassion suburbs, captures a London just outside the memories for those who have no social, religious or personal of the reader born in post-war Britain, but not too far resources, and for the effect of materialism and away from them to lack resonance.