Alex Waldmann Wolf Marloh
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Barbican Events Dec 2017 Barbican.Org.Uk News 2–12 Playing the Changes 2–4 Barbican Maker: Emma Johnson 4–6 Transpose 7–
1 Barbican Events Dec 2017 barbican.org.uk News 2–12 Playing the Changes 2–4 Barbican Maker: Emma Johnson 4–6 Transpose 7–9 The Caretaker 9–11 Ho Ho Homeware 11–12 Listings 13–53 Art 13–17 Film 18–26 Classical Music 26–44 Contemporary Music 44–45 Theatre & Dance 45–50 Learning 50–53 Information 53–67 Explore 53 Booking 55 Calendar 58–67 2 News Playing the Changes Christian Campbell, Trinidadian Bahamian poet, essayist and cultural critic, considers the importance of Basquiat’s work for today’s audience. Some questions for Boom for Real: what tools, what language, what new ways of being together do we have now that we didn’t have then with which to read the work of Jean-Michel Basquiat? How has the work changed (which is also to ask, how have we changed)? And how does the work read us now? Fortuitously a new commission, Purple, is currently on show in the Curve by the ferociously brilliant artist John Akomfrah , who claims Basquiat as an influence. Housing Akomfrah and Basquiat at the same institution changes the conversation. This is a crucial time to look at Basquiat again given major global cultural shifts including the rise of more African- American, Caribbean, Latin American and other diaspora artists and writers; the rise of ’First World’ discourses on diaspora; the rise of intersectional black theories (such as black feminist theory, black queer theory, etc) and new histories of black expressive cultures; the rise of critical theory; the rise of alternative histories of conceptualism; the rise and increasing visibility of black immigrants in North America and Europe; the development of institutional support for the arts outside of North America and Europe (through museums, festivals, prizes, biennials, 3 etc); and the endurance and renewal of anti-colonial and black radical movements that continue to fight institutional racism in all spheres. -
Press Release
PRESS RELEASE Saffron Burrows, Oliver Chris and Belinda Stewart-Wilson join cast of Everything I Ever Wanted to Tell My Daughter About Men 29 January 2020 Shakespeare’s Globe is delighted to announce further casting for Everything I Ever Wanted to Tell My Daughter About Men, a new black comedy by actor and writer Lorien Haynes, directed by Tara Fitzgerald (Brassed Off, Game of Thrones), being hosted in the Sam Wanamaker Playhouse on Thursday 20 February. Everything I Ever Wanted to Tell My Daughter About Men traces a woman’s relationship history backwards, exploring the impact of sexual assault, addiction and teen pregnancy on her adult relationships. Presented in association with RISE and The Circle, all profits from this event will go towards supporting survivors of sexual violence. Thanks in huge part to RISE’s work, the event will also mark the planned introduction of the Worldwide Sexual Violence Survivor Rights United Nations Resolution later this year, which addresses the global issue of sexual violence and pens into existence the civil rights of millions of survivors. Nobel-Prize nominee and founder of Rise, Amanda Nguyen, will introduce the evening. A silent auction will also take place on the night to highlight and raise awareness for the support networks available to those in need. Audience members will be able to bid on props from the production as well as a selection of especially commissioned rotary phones, exclusively designed by acclaimed British artists including Harland Miller, Natasha Law, Bella Freud and Emma Sargeant. The money raised by each phone will go to a rape crisis helpline chosen by the artist. -
3D Computer Modelling the Rose Playhouse Phase I (1587- 1591) and Phase II (1591-1606)
3D Computer Modelling The Rose Playhouse Phase I (1587- 1591) and Phase II (1591-1606) *** Research Document Compiled by Dr Roger Clegg Computer Model created by Dr Eric Tatham, Mixed Reality Ltd. 1 BLANK PAGE 2 Contents Acknowledgements…………………………………………………………………….………………….………………6-7 Foreword…………………………………………………………………………………………………………….9-10 1. Introduction……………………..………...……………………………………………………….............………....11-15 2. The plot of land 2.1 The plot………………………………………………..………………………….………….……….……..…17-19 2.2 Sewer and boundary ditches……………………………………………….……………….………….19-23 3. The Rose playhouse, Phase I (1587-1591) 3.1 Bridges and main entrance……………………..……………………………………,.……………….25-26 3.2 Exterior decoration 3.2.1 The sign of the Rose…………………………………………………………………………27-28 3.2.2 Timber frame…………………………………………………..………………………………28-31 3.3. Walls…………………………………………………………………………………………………………….32-33 3.3.1 Outer walls………………………………………………………….…………………………..34-36 3.3.2 Windows……………………………………………………………..…………...……………..37-38 3.3.3 Inner walls………………………………………………………………………………………39-40 3.4 Timber superstructure…………………………………………….……….…………….…….………..40-42 3.4.1 The Galleries………………………………………………..…………………….……………42-47 3.4.2 Jutties……………………………………………………………...….…………………………..48-50 3.5 The yard………………………………………………………………………………………….…………….50-51 3.5.1 Relative heights………………………………………………...……………...……………..51-57 3.5.2. Main entrance to the playhouse……………………………………………………….58-61 3.6. ‘Ingressus’, or entrance into the lower gallery…………………………..……….……………62-65 3.7 Stairways……………………………………………………………………………………………………....66-71 -
Shakespeare and London Programme
andShakespeare London A FREE EXHIBITION at London Metropolitan Archives from 28 May to 26 September 2013, including, at advertised times, THE SHAKESPEARE DEED A property deed signed by Mr. William Shakespeare, one of only six known examples of his signature. Also featuring documents from his lifetime along with maps, photographs, prints and models which explore his relationship with the great metropolis of LONDONHighlights will include the great panoramas of London by Hollar and Visscher, a wall of portraits of Mr Shakespeare, Mr. David Garrick’s signature, 16th century maps of the metropolis, 19th century playbills, a 1951 wooden model of The Globe Theatre and ephemera, performance recording and a gown from Shakespeare’s Globe. andShakespeare London In 1613 William Shakespeare purchased a property in Blackfriars, close to the Blackfriars Theatre and just across the river from the Globe Theatre. These were the venues used by The Kings Men (formerly the Lord Chamberlain’s Men) the performance group to which he belonged throughout most of his career. The counterpart deed he signed during the sale is one of the treasures we care for in the City of London’s collections and is on public display for the first time at London Metropolitan Archives. Celebrating the 400th anniversary of the document, this exhibition explores Shakespeare’s relationship with London through images, documents and maps drawn from the archives. From records created during his lifetime to contemporary performances of his plays, these documents follow the development of his work by dramatists and the ways in which the ‘bardologists’ have kept William Shakespeare alive in the fabric of the city through the centuries. -
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 -
Richard Cant
Richard Cant Photo: Wolf Marloh Stage 2019, Stage, Quentin Crisp, AFTER EDWARD, Globe Theatre, London, Brendan O'Hea 2019, Stage, Earl of Lancaster, EDWARD THE SECOND, Globe Theatre, London, Nick Bagnall 2018, Stage, Jeremy Crowther, MAYDAYS, Royal Shakespeare Company, Owen Horsley 2017, Stage, DeStogumber/ Poulengey, SAINT JOAN, Donmar, Josie Rourke 2016, Stage, One, STELLA, LIFT/Brighton Festival, Neil Bartlett 2015, Stage, Aegeus, MEDEA, Almeida, Rupert Goold 2015, Stage, Bernie, MY NIGHT WITH REG, Donmar Warehouse/ Apollo Theatre, Rob Hastie 2015, Stage, Tudor/Male Guard/Assistant, THE TRIAL, The Young Vic, Richard Jones 2013, Stage, Friedrich Muller, WAR HORSE, NT at New London Theatre, Alex Sims, Kathryn Ind 2010, Stage, Page of Herodias, SALOME, Headlong, Jamie Lloyd 2008, Stage, Thersites, TROILUS AND CRESSIDA, Cheek by Jowl, Declan Donnellan 2007, Stage, Pisanio, CYMBELINE, Cheek by Jowl, Declan Donnellan 2002, Stage, Lord Henry, ORIGINAL SIN, Sheffield Crucible Theatre, Peter Gill 2000, Stage, Darren, OTHER PEOPLE, Royal Court Theatre, Dominic Cooke 2000, Stage, Brian/Javid, PERA PALAS, Gate, Sacha Wares 2000, Stage, SHE STOOPS TO CONQUER, New Kent Opera, Hettie McDonald 2000, Stage, Sparkish, THE COUNTRY WIFE, Sheffield Crucible Theatre, Michael Grandage 1999, Stage, Prior, ANGELS IN AMERICA, Library, Manchester, Roger Haines 1997, Stage, Arviragus, CYMBELINE, Royal Shakespeare Company, Adrian Noble 1997, Stage, Rosencrantz, HAMLET, RSC, Matthew Warchus 1997, Stage, Balthasar, MUCH ADO ABOUT NOTHING, RSC, Michael Boyd 1996, Stage, -
The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 12-2018 The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere Sarah Marksteiner Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Playwriting Commons Recommended Citation Marksteiner, Sarah, "The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere" (2018). Undergraduate Honors Theses. Paper 1264. https://scholarworks.wm.edu/honorstheses/1264 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Theatre from The College of William and Mary by Sarah A. Marksteiner Williamsburg, VA December 7, 2018 1 TABLE OF CONTENTS ABSTRACT ............................................................................................................................... 2 CHAPTER I: THE GENESIS ................................................................................................... -
Indirect Translation on the London Stage: Terminology and (In)Visibility
Indirect translation on the London stage: terminology and (in)visibility Geraldine Brodie* Centre for Translation Studies, University College London, UK *[email protected] Abstract Productions of translated plays on the London stage use a variety of terms to describe the interlingual interpretive process that has taken place between the source text and the performance. Most frequently, a translated play is described as a “version” or “adaptation”, with the term “translation” reserved for specialized productions. The translation method most commonly adopted is to commission a source-language expert to prepare a “literal” translation which is then used by an English-speaking theatre practitioner to produce a playscript for performance. This article examines the incidence of such indirect translation practices, the inconsistencies of the applied terminology, and the relevance for indirect translation in its wider sense, revealing the shadows of translational behaviour even within language pairs, and demonstrating the multiplicity of agents impacting on the ultimate appearance of a text in translation. Keywords: adaptation, literal translation, London theatre, theatre translation, version, indirect translation Introduction Translation is a collaborative exercise, incorporating a range of participants and stages in the trajectory between originating and ultimate texts. The romantic concept of the solitary, omniscient translator – Jerome, the patron saint of translators, alone in the desert with his bible and skull – is no longer apposite, if it ever were. The writer of the “letter of Aristeas” in around 130 BCE depicted seventy-two translators creating the early-third-century Septuagint translation of the Hebrew scripture, “making all details harmonize by mutual comparison” – although this was disputed by later authors, who preferred to ascribe the translation of sacred texts to divine inspiration (Robinson 2014, 4–5). -
02 the Hollow Crown Bios
Press Contact: Harry Forbes 212.560.8027, [email protected] Lindsey Bernstein 212.560.6609, [email protected] Great Performances: The Hollow Crown Bios Tom Hiddleston After he was seen in a production of A Streetcar Named Desire by Lorraine Hamilton of the notable actors’ agency Hamilton Hodell, Tom Hiddleston was shortly thereafter given his first television role in Stephen Whittaker’s adaptation of Nicholas Nickleby (2001) for ITV, starring Charles Dance, James D’Arcy and Sophia Myles. Roles followed in two one-off television dramas co-produced by HBO and the BBC. The first was Conspiracy (2001), a film surrounding the story of the Wannsee Conference in 1942 to consolidate the decision to exterminate the Jews of Europe. The film prompted Tom’s first encounter with Kenneth Branagh who took the lead role of Heydrich. The second project came in 2002 in the critically acclaimed and Emmy Award- winning biopic of Winston Churchill The Gathering Storm, starring Albert Finney and Vanessa Redgrave. Tom played the role of Randolph Churchill, Winston’s son, and cites that particular experience – working alongside Finney and Redgrave, as well as Ronnie Barker, Tom Wilkinson, and Jim Broadbent – as extraordinary; one that changed his perspective on the art, craft and life of an actor. Tom graduated from RADA in 2005, and within a few weeks was cast as Oakley in the British independent film Unrelated by first-time director Joanna Hogg. Unrelated tells the story of a woman in her mid-40s who arrives alone at the Italian holiday home of an extended bourgeois family. -
Brooklyn Academy of Music (BAM) Announces 2018 Next Wave
Brooklyn Academy of Music (BAM) announces 2018 Next Wave Festival, featuring 27 music, opera, theater, physical theater, dance, film/music, and performance art engagements, Oct 3—Dec 23 Bloomberg Philanthropies is the Season Sponsor Music/Opera Almadraba…………………… Oscar Peñas…………………………..…………………..page 3 Place…………………………. Ted Hearne, Saul Williams, Patricia McGregor………. page 6 The Ecstatic Music of Alice Coltrane …………………………..…………………………page 6 Satyagraha…………………...Philip Glass, Tilde Björfors, Folkoperan, Cirkus Cirkör..page 17 Savage Winter…………...….. Douglas J. Cuomo, Jonathan Moore, American Opera Projects, Pittsburgh Opera……………………………… page 19 Circus: Wandering City…….. ETHEL……………………………………………………. page 22 Greek………………………… Scottish Opera/Opera Ventures, Mark-Anthony Turnage, Joe Hill-Gibbins, Jonathan Moore, Stuart Stratford….. page 28 Theater The Bacchae…………………SITI Company, Anne Bogart, Aaron Poochigian…….. .page 4 Measure for Measure………. Cheek by Jowl, Pushkin Drama Theatre, Declan Donnellan, Nick Ormerod……………………….page 9 Jack &................................... Kaneza Schaal, Cornell Alston………………………… .page 10 Falling Out…………………… Phantom Limb Company……………………………….. .page 20 The Good Swimmer…………Heidi Rodewald, Donna Di Novelli, Kevin Newbury…. .page 25 The White Album…………….Early Morning Opera, Lars Jan, Joan Didion………… .page 26 NERVOUS/SYSTEM………..Andrew Schneider………………………………………...page 32 Strange Window: The Turn of the Screw…………………. The Builders Association, Marianne Weems…………..page 33 Physical theater Humans……………………… Circa, Yaron Lifschitz……………………………………..page -
By William Shakespeare Measure for Measure Why Give
Measure for Measure by William Shakespeare Measure for Measure Why give Welcome to our 2015 season with Measure for Measure. you me this Our Russian company were last here with The Tempest and we are delighted to be back. We are particularly grateful to shame? Evgeny Pisarev and Anna Volk of the Pushkin Theatre in Moscow, without whom this production would not have been possible. Act III Scene I Thanks also to Toni Racklin, Leanne Cosby, and the entire team at the Barbican, London for their continued enthusiasm and support, and to Katy Snelling and Louise Chantal at the Oxford Playhouse. We’d also like to thank our other co-producers, Les Gémeaux/ Sceaux/Scène Nationale, in Paris, and Centro Dramático Nacional, in Madrid, as well as Arts Council England. We do hope you enjoy the show… Declan Donnellan and Nick Ormerod Petr Rykov & Company 1 2 3 Cheek by Jowl in Russia In 1986, Russian theatre director Lev Dodin of Valery Shadrin, commissioned Donnellan invited Donnellan and Ormerod to visit his and Ormerod to form their own company of company in Leningrad. Ten years later, they Russian actors in Moscow. This sister company 4 5 6 directed and designed The Winter’s Tale performs in Russia and internationally and its for the Maly Drama Theatre, which is still current repertoire includes Boris Godunov running in St. Petersburg. Throughout the by Pushkin, Twelfth Night and The Tempest 1990s the Russian Theatre Confederation by Shakespeare, and Three Sisters by Anton regularly invited Cheek by Jowl to Moscow Chekhov. Measure for Measure is Cheek as part of the Chekhov International Theatre by Jowl’s first co-production with Moscow’s Festival, and this relationship intensified in Pushkin Theatre. -
Linguaculture 1, 2014
LINGUACULTURE 1, 2014 THE HOLLOW CROWN:SHAKESPEARE, THE BBC, AND THE 2012 LONDON OLYMPICS RUTH M ORSE Université-Paris-Diderot Abstract During the summer of 2012, and to coincide with the Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. The BBC commission was conceived as part of the Cultural Olympiad which accompanied Britain’s successful hosting of the Games that summer. I discuss the financial, technical, aesthetic, and political choices made by the production team, not only in the context of the Coalition government (and its attacks on the BBC) but also in the light of theatrical and film tradition. I argue that the inclusion or exclusion of two key scenes suggest something more complex and balanced that the usual nationalism of the plays'; rather, the four nations are contextualised to comprehend and acknowledge the regions – apropos not only in the Olympic year, but in 2014's referendum on the Union of the crowns of England/Wales and Scotland. Keywords: Shakespeare, BBC, adaptation, politics, Britishness During the summer of 2012, to coincide with the London summer Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. An additional series, Shakespeare Unlocked, accompanied each play with a program fronted by a lead actor discussing the play and the process, illustrated by clips from the plays in which they had appeared (“The Hollow Crown”). The producer was the Neal Street Production Company in the person of Sam Mendes, a well-known stage and cinema director, celebrated not least for an Oscar for American Beauty, a rare honour for a first-time film director.