Hampstead Theatre Announces Casting for the Intelligent Homosexual’S Guide to Capitalism and Socialism with a Key to the Scriptures
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Royal Shakespeare Company Returns to London's Roundhouse.Pdf
Royal Shakespeare Company returns to London’s Roundhouse from November 2010 with 10 week season • One company of 44 actors playing 228 roles • Six full-scale Shakespeare productions • Two Young People’s Shakespeares – innovative, distilled productions adapted for young people • Education projects across London and at the Roundhouse • One specially constructed 750-seat thrust stage auditorium – bringing audiences closer to the action – in one iconic venue Following its hugely successful, Olivier award-winning Histories Season in 2008, the RSC returns to London’s Roundhouse in November 2010 to present a ten-week repertoire of eight plays by Shakespeare – six full-scale productions and two specially adapted for children and families. This is the first chance London audiences will have to see the RSC’s current 44-strong ensemble, who have been working together in Stratford-upon-Avon since January 2009. The RSC Ensemble is generously supported by The Gatsby Charitable Foundation and The Kovner Foundation. The season opens with Rupert Goold’s production of Romeo and Juliet and runs in repertoire to 5 February next year, with Michael Boyd’s production of Antony and Cleopatra; The Winter’s Tale directed by David Farr; Julius Caesar directed by Lucy Bailey; As You Like It, directed by Michael Boyd; and David Farr’s King Lear (see end of release for production details at a glance). All six productions have been developed throughout their time in the repertoire and are revised and re-rehearsed with each revival in Stratford, Newcastle, London and finally for next year’s residency in New York. The season also includes the RSC’s two recent Young People’s Shakespeare (YPS) productions created especially for children and families, and inspired by the Stand Up For Shakespeare campaign which calls for more children and young people to See Shakespeare Live, Start Shakespeare Earlier and Do Shakespeare on their Feet – Hamlet, directed by Tarell Alvin McCraney, and The Comedy of Errors (in association with Told by an Idiot), directed by Paul Hunter. -
0844 800 1110
www.rsc.org.uk 0844 800 1110 The RSC Ensemble is generously supported by THE GATSBY CHARITABLE FOUNDATION TICKETS and THE KOVNER FOUNDATION from Charles Aitken Joseph Arkley Adam Burton David Carr Brian Doherty Darrell D’Silva This is where the company’s work really begins to cook. By the time we return to Stratford in 2010 these actors will have been working together for over a year, and equipped to bring you a rich repertoire of eight Shakespeare productions as well as our new dramatisation of Morte D’Arthur, directed by Gregory Doran. As last year’s work grows and deepens with the investment of time, so new productions arrive from our exciting new Noma Dumezweni Dyfan Dwyfor Associate Directors David Farr and Rupert Goold, who open the Phillip Edgerley Christine Entwisle season with King Lear and Romeo and Juliet. Later, our new Artistic Associate Kathryn Hunter plays her first Shakespearean title role with the RSC in my production of Antony and Cleopatra, and we follow the success of our Young People’s The Comedy of Errors with a Hamlet conceived and directed by our award winning playwright in residence, Tarell Alvin McCraney. I hope that you will come and see our work as we continue to explore just how potent a long term community of wonderfully talented artists can be. Michael Boyd Artistic Director Geoffrey Freshwater James Gale Mariah Gale Gruffudd Glyn Paul Hamilton Greg Hicks James Howard Kathryn Hunter Kelly Hunter Ansu Kabia Tunji Kasim Richard Katz Debbie Korley John Mackay Forbes Masson Sandy Neilson Jonjo O’Neill Dharmesh Patel Peter Peverley Patrick Romer David Rubin Sophie Russell Oliver Ryan Simone Saunders Peter Shorey Clarence Smith Katy Stephens James Traherne Sam Troughton James Tucker Larrington Walker Kirsty Woodward Hannah Young Samantha Young TOPPLED BY PRIDE AND STRIPPED OF ALL STATUS, King Lear heads into the wilderness with a fool and a madman for company. -
Shakespeare Survey 72 Edited by Emma Smith Frontmatter More Information
Cambridge University Press 978-1-108-49928-6 — Shakespeare Survey 72 Edited by Emma Smith Frontmatter More Information SHAKESPEARE SURVEY 72 Shakespeare and War © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-49928-6 — Shakespeare Survey 72 Edited by Emma Smith Frontmatter More Information SHAKESPEARE SURVEY ADVISORY BOARD Jonathan Bate Claudia Olk Margreta De Grazia Lena Cowen Orlin Michael Dobson Reiko Oya Ton Hoenselaars Simon Palfrey Peter Holland Richard Proudfoot Russell Jackson Ann Thompson John Jowett Stanley Wells Lucy Munro Assistants to the Editor Robbie Hand and Sara Marie Westh (1) Shakespeare and his Stage (38) Shakespeare and History (2) Shakespearian Production (39) Shakespeare on Film and Television (3) The Man and the Writer (40) Current Approaches to Shakespeare through Language, Text (4) Interpretation and Theatre (5) Textual Criticism (41) Shakespearian Stages and Staging (with an index to Surveys (6) The Histories 31–40) (7) Style and Language (42) Shakespeare and the Elizabethans (8) The Comedies (43) The Tempest and After (9) Hamlet (44) Shakespeare and Politics (10) The Roman Plays (45) Hamlet and its Afterlife (11) The Last Plays (with an index to Surveys 1–10) (46) Shakespeare and Sexuality (12) The Elizabethan Theatre (47) Playing Places for Shakespeare (13) King Lear (48) Shakespeare and Cultural Exchange (14) Shakespeare and his Contemporaries (49) Romeo and Juliet and its Afterlife (15) The Poems and Music (50) Shakespeare and Language (16) Shakespeare -
University of Nevada, Reno a New Critical Edition of Shakespeare's
University of Nevada, Reno A New Critical Edition of Shakespeare’s Titus Andronicus . A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by Matthew Trey Jansen Dr. Eric Rasmussen/Dissertation Advisor August, 2013 UNIVERSITY OF NEVADA RENO THE GRADUATE SCHOOL We recommend that the dissertation prepared under our supervision by MATTHEW TREY JANSEN entitled A New Critical Edition of Titus Andronicus be accepted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Eric Rasmussen, Ph.D., Advisor James Marcock, Ph.D., Committee Member Dennis Cronan, Ph.D., Committee Member Kevin Stevens, Ph.D., Committee Member Rob Gander, Ph.D., Graduate School Representative Marsha H. Read, Ph. D., Dean, Graduate School August, 2013 i Abstract In Shakespeare’s first tragedy, Titus Andronicus , the blank spaces are filled by necessary action and constant visual representations of limbless bodies on the stage, which are easily lost on the pages of the text. It is my contention that an edition must offer the best possibility to bridge this gap between the stage and the page, by presenting a text based on the early modern text that is most influenced by the theater. Based on my evaluation of the most recent scholarship, this text is the 1623 First Folio. This choice is a clear break from the editorial tradition of Titus Andronicus , which has been to use the First Quarto as copy text and to insert the stage directions and the “fly scene” from the First Folio. While the First Quarto may represent something closer to what Shakespeare first wrote, the long success of Titus Andronicus on the stage, the addition of the theatrically based directions, and the number of hands involved in the preparation of the text for the Folio offer a more tangible connection to the effects of performance on early modern texts. -
RSC Shakespeare Toolkit for Teachers Thanks to a Grant from the Department for Education
IMAGE CREDITS IN ORDER OF APPEARANCE: David Tennant in Richard II by Kwame Lestrade. Shakespeare’s 450th Birthday Fireworks by Lucy Barriball. The cast of As You Like It by Keith Pattison. The cast of Richard II by Kwame Lestrade. Technical rehearsal for Live From Stratford-upon-Avon by Lucy Barriball. Lydia Leonard in Bring Up the Bodies by Keith Pattison. Camille O’Sullivan in The Rape of Lucrece by Keith Pattison. Anjana Vasan talking to students at First Encounter: The Taming of the Shrew tour by Simon Annand. Matilda Write Here Write Now by Manuel Harlan. Sam Swann and Charlotte Mills in Wendy & Peter Pan by Manuel Harlan. Audience member streaming A Midsummer Night’s Dreaming by Kwame Lestrade. The cast of The Empress by Steve Tanner. ROYAL SHAKESPEARE COMPANY Greg Hicks and Joanna Horton in All’s Well That Ends Well WATERSIDE by Ellie Kurttz. Ellie Beaven in STRATFORD-UPON-AVON A Mad World My Masters WARWICKSHIRE by Manuel Harlan. Jo Stone-Fewings in The Winter’s Tale CV37 6BB by Sheila Burnett. egistered Charity No. 212481 Audience members R applauding Candide by Sasha Gusov. Income and Expenditure: Matilda The Musical +44 (0)1789 296655 by Manuel Harlan. The cast of Candide www.rsc.org.uk by Manuel Harlan. EDITORIAL Find us on Facebook Review compiled and www.facebook.com/theRSC edited by Jane Ellis. DESIGN Follow us on Twitter Designed by Graham Rolfe, www.twitter.com/theRSC RSC Visual Communications. We have had a great year, bringing the very best in live theatre to audiences across the world. -
Annual Review
ROYAL SHAKESPEARE COMPANY WATERSIDE STRATFORD-UPON-AVON WARWICKSHIRE CV37 6BB Registered Charity No. 212481 TEL: +44 1789 296655 www.rsc.org.uk Find us on Facebook www.facebook.com/theRSC ANNUAL Follow us on Twitter www.twitter.com/theRSC REVIEW Cover image: Paterson Joseph and Cyril Nri in Julius Caesar. 2012-13 Our job is to give the best possible experience of Shakespeare and live theatre to the widest possible audience, and to inspire a lifelong love PEOPLE EXPERIENCED OUR of his work and theatrical performance. Everything we create is made in Stratford-upon-Avon, WORK WORLDWIDE IN 2012/13 Shakespeare’s home town, where we’ve trained generations of actors, directors and crafts people and continue to develop talent for the future. 2012/13 has been a very successful year for the Company. This Review highlights just some of the work we have shared with more than 1.5 million people worldwide this year, and it illustrates the ways in which we have given young people a great first experience of Shakespeare and shared skills with amateur theatre makers. Our commitment to excellence continues more strongly than ever, with a determination to keep Shakespeare at the centre of what we do, both in a historical and contemporary context. We have a new strategy to take us forward into the next decade. At its heart is the entire First Folio. We will stage every one of Shakespeare’s 36 plays on the stage of the Royal Shakespeare Theatre over the next six years, return the Swan Theatre to the work of Shakespeare’s contemporaries and other writers, and reopen our studio theatre, The Other Place, as a creative hub for new work, experimentation INTRODUCTION and artist development, led by Deputy Artistic Director, Erica Whyman. -
SHAKESPEARE's FEMALE Icons
The start ow SHAKESPEARE's FEMALE IcoNs Volume XXXI 2012 Vol. XXXI Digital Facsimile The Upstart Crow: A Shakespeare journal, Volume XXXI, 2012 is published by Clemson Universicy Digital Press. © 2013 Clemson Univcrsicy ISSN: 0886-2168 ~ EDITOR ·~ \ Elizabeth Rivlin CLEMSON UNIVERSITY DIGITAL PRESS ASSOCIATE EDITORS Ray Barfield, Wayne Chapman, Jonathan Field, Martin Jacobi, Michael LeMahieu, Chantelle MacPhee, Brian McGrath, Lee Morrissey, and Will Stockton BOOK REVIEW EDITOR Will Stockton, Clemson University ADVISORY BOARD James Berg, Pam Brown, Patricia Cahill, Ann C. Christensen, Katherine Conway, Herbert Coursen, Mary Agnes Edsall, John R. Ford, Walter Haden, Chris Hassel, Maurice Hunt, Natasha Korda, Paul Kottman, Richard Levin, Jeremy Lopez, Bindu Malieckal, John McDaniel, Ian Frederick Moulton, Peter Pauls, Kaara Peterson, Jeanne Roberts, and Jyotsna Singh BUSINESS MANAGER Kristin Sindorf ACCOUNTING FISCAL ANALYST Beverly Pressley EDITORIAL ASSISTANTS Charis Chapman and Jared Jamison EDITORIAL CORRESPONDENCE Editor, 1he Upstart Crow, Department of English, Clemson University, Strode Tower, Box 340523, Clemson, SC 29634-0523. Tel. (864) 656-3151. Fax (864) 656-1345. SUBSCRIPTION RATES Please note: after Volume XXXI, "'ubscription will no longer be available although copies of most volumes may be purchased from the online store to which visitors to our website will be directed. PDF facsimiles of all volumes, in the ncar future, wiU be available free for viewing on an open-access basis. Queries on existing subscriptions should be directed to The Business Manager at the same address as given above. Meanwhile, rates for the present (and last) volume of 1he Upstart Crow are as follows: 1-year subscription for individuals (Vol. XXXI): $17 1-year subscription for institutions (Vol. -
37 Plays 37 Films 37 Screens
the complete walk 37 PLAYS 37 FILMS 37 SCREENS A celebratory journey through Shakespeare’s plays along the South Bank and Bankside Credits and Synopses shakespearesglobe.com/400 #TheCompleteWalk 1 contents 1 THE TWO GENTLEMEN OF VERONA 3 20 HENRY V 12 2 HENRY VI, PART 3 3 21 AS YOU LIKE IT 13 3 THE TAMING OF THE SHREW 4 22 JULIUS CAESAR 13 4 HENRY VI, PART 4 23 OTHELLO 14 5 TITUS ANDRONICUS 5 24 MEASURE FOR MEASURE 14 6 HENRY VI, PART 2 5 25 TWELFTH NIGHT 15 7 ROMEO & JULIET 6 26 TROILUS AND CRESSIDA 15 8 RICHARD III 6 27 ALL’S WELL THAT ENDS WELL 16 9 LOVE’S LABOUR’S LOST 7 28 TIMON OF ATHENS 16 10 KING JOHN 7 29 ANTONY AND CLEOPATRA 17 11 THE COMEDY OF ERRORS 8 30 KING LEAR 17 12 RICHARD II 8 31 MACBETH 18 13 A MIDSUMMER NIGHT’S DREAM 9 32 CORIOLANUS 18 14 THE MERCHANT OF VENICE 9 33 HENRY VIII 19 15 HENRY IV, PART 1 10 34 PERICLES 19 16 MUCH ADO ABOUT NOTHING 10 35 CYMBELINE 20 17 HENRY IV, PART 2 11 36 THE WINTER’S TALE 20 18 THE MERRY WIVES OF WINDSOR 11 37 THE TEMPEST 21 19 HAMLET 12 2 THE TWO GENTLEMEN HENRY VI, PART 3 OF VERONA Filmed at Towton Battlefield, England Filmed at Scaligero Di Torri Del Benaco, St Thomas’ Hospital Garden Verona, Italy St Thomas’ Hospital Garden CREDITS Father DAVID BURKE CREDITS Son TOM BURKE Julia TAMARA LAWRANCE Henry VI ALEX WALDMANN Lucetta MEERA SYAL Director NICK BAGNALL Director of Photography ALISTAIR LITTLE Director CHRISTOPHER HAYDON Sound Recordist WILL DAVIES Director of Photography IONA FIROUZABADI Sound Recordist JUAN MONTOTO UGARTE ON-STAGE PRODUCTION (GLOBE TO GLOBE FESTIVAL) ON-STAGE PRODUCTION Performed in Macedonian by the National Theatre (GLOBE ON SCREEN) of Bitola, Macedonia A Midsummer Night’s Dream Twelfth Night Director JOHN BLONDELL As You Like It Othello SYNOPSIS Romeo and Juliet As the War of the Roses rages, Richard, Duke of Measure for Measure York, promises King Henry to end his rebellion if his All’s Well That Ends Well sons are named heirs to the throne. -
Artist Development and Training in the Royal Shakespeare Company a Vision for Change in British Theatre Culture
Artist Development and Training in the Royal Shakespeare Company A Vision for Change in British Theatre Culture Volume I Lyn Darnley A thesis submitted to the Faculty of Arts of Royal Holloway College, University of London for the degree of PhD Department of Drama and Theatre Arts Royal Holloway College University of London Egham TW20 OEX March 2013 Declaration of Authorship I, Lyn Darnley, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________________ Date: ________________________________ Contents Volume I Page Abstract ......................................................................................................... 1 Introduction ................................................................................................... 2 Chapter One: The Royal Shakespeare Company and Training .............. 16 Chapter Two: Training and the Shakespeare Memorial Theatre ............. 38 Chapter Three: Cicely Berry....................................................................... 72 Chapter Four: Training and Ensemble under Adrian Noble .................. 104 Chapter Five: The Pilot Programme December 2003 ............................. 140 Chapter Six: Training for the Comedies Ensemble – 2005 ................... 192 Chapter Seven: The Complete Works Festival 2006-2007 ..................... 234 Chapter Eight: Achievements, Challenges and Moving Forwards ....... 277 Bibliography ............................................................................................. -
In Defense of Shakespeare's Queen Margaret of Anjou
In Defense of Shakespeare’s Queen Margaret of Anjou The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Pagliaccio, Sarah. 2016. In Defense of Shakespeare’s Queen Margaret of Anjou. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797294 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA In Defense of Shakespeare’s Queen Margaret of Anjou Sarah E. Pagliaccio A Thesis in the Field of English Literature for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2016 Copyright 2016 Sarah E. Pagliaccio Abstract Margaret of Anjou, who appears in the four history plays known as the first tetralogy (1-3 Henry VI and Richard III), is unique among William Shakespeare’s characters. Almost the entirety of her life is played out on stage, from her real-life engagement to King Henry VI of England at the age of fourteen to her fictionalized self- banishment to France around age forty-five. Within this singular character, Margaret fulfills the roles of daughter, bride, wife, mother, lover, queen, avenging warrior, and grieving widow—a greater range than any other character in Shakespeare’s work, man or woman. This thesis will argue that Shakespeare intended Margaret to be a central character in the first tetralogy. -
Proximity, Trauma, and Shakespeare's Tragic Women
“I Have Suffered With Those That I Saw Suffer”: Proximity, Trauma, and Shakespeare’s Tragic Women By Cody Ganger A Thesis Submitted to the Department of English California State University Bakersfield In Partial Fulfillment for the Degree of Masters of English Winter 2016 Copyright By Cody Ganger 2016 Ganger 2 Table of Contents Prologue………………………………………………………………………………………………… 3 Act 1: Laying a Foundation: Background and Theory……………………………….. 6 Act 2: The Women and Wounds of Titus Andronicus………………………………… 22 Act 3: One Man, Two Fathers: Psychological Trauma and the Sister of King Lear…………………………………… 31 Act 4: What’s Done Can Be Undone: Lady Macbeth’s Transformation from Villain t o Victim…………………………… 42 Act 5: Final Thoughts and Fut ure Research…………………………………………….. 59 Bibliography…………………………………………………………………………………………. 66 Ganger 3 Prologue In the summer of 2009, I played Regan in a production of King Lear and as I worked on and rehearsed this character, I felt a great deal of heartbr eak, desperation, and empathy for her. I was captivated by the character and the play as a whole. When I began the English Graduate program in Winter 2014 and was asked to choose one cla ssic work of literature to focus on in English 500, I quickly chose King Lear with the intention of researching scholarly material on the three women in the play. What I quickly realized was that there is a wealth of scholarship focused on Cordelia, but very little fo cused on Goneril and Regan. Any mention of Lear’s elder daughters are always as one‐dimensional foils to Cordelia, and always occur off‐handedly, almost as a footnote to what the aut hor finds actually interesting—Cordelia.