January 2017 Newsletter
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National Theatre
WITH EMMA BEATTIE OLIVER BOOT CRYSTAL CONDIE EMMA-JANE GOODWIN JULIE HALE JOSHUA JENKINS BRUCE MCGREGOR DAVID MICHAELS DEBRA MICHAELS SAM NEWTON AMANDA POSENER JOE RISING KIERAN GARLAND MATT WILMAN DANIELLE YOUNG 11 JAN – 25 FEB 2018 ARTS CENTRE MELBOURNE, PLAYHOUSE Presented by Melbourne Theatre Company and Arts Centre Melbourne This production runs for approximately 2 hours and 30 minutes, including a 20 minute interval. The Curious Incident of the Dog in the Night-Time is presented with kind permission of Warner Bros. Entertainment. World premiere: The National Theatre’s Cottesloe Theatre, 2 August 2012; at the Apollo Theatre from 1 March 2013; at the Gielgud Theatre from 24 June 2014; UK tour from 21 January 2017; international tour from 20 September 2017 Melbourne Theatre Company and Arts Centre Melbourne acknowledge the Yalukit Willam Peoples of the Boon Wurrung, the Traditional Owners of the land on which this performance takes place, and we pay our respects to Melbourne’s First Peoples, to their ancestors past and present, and to our shared future. DIRECTOR MARIANNE ELLIOTT DESIGNER LIGHTING DESIGNER VIDEO DESIGNER BUNNY CHRISTIE PAULE CONSTABLE FINN ROSS MOVEMENT DIRECTORS MUSIC SOUND DESIGNER SCOTT GRAHAM AND ADRIAN SUTTON IAN DICKINSON STEVEN HOGGETT FOR AUTOGRAPH FOR FRANTIC ASSEMBLY ASSOCIATE DIRECTOR RESIDENT DIRECTOR ELLE WHILE KIM PEARCE COMPANY VOICE WORK DIALECT COACH CASTING CHARMIAN HOARE JEANNETTE NELSON JILL GREEN CDG The Cast Christopher Boone JOSHUA JENKINS SAM NEWTON* Siobhan JULIE HALE Ed DAVID MICHAELS Judy -
City Research Online
Keeble, R. (1996). The Gulf War myth: a study of the press coverage of the 1991 Gulf conflict. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Keeble, R. (1996). The Gulf War myth: a study of the press coverage of the 1991 Gulf conflict. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7932/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. The Gulf war myth A study of the press coverage of the 1991 Gulf conflict by Richard Keeble PhD in Journalism May 1996; Department of Journalism, City University, London CONTENTS Abstract ix Acknowledgements x Introduction xi-iii A.1 The war problematic xi -
Britain and Europe: Where America’S Interests Really Lie Dr
Britain and Europe: Where America’s Interests Really Lie Dr. Robin Harris SPECIAL REPORT No. 131 | APRIL 29, 2013 from THE DOUGLAS AND SARAH ALLISON CENTER for FOREIGN POLICY STUDIES Britain and Europe: Where America’s Interests Really Lie Dr. Robin Harris SR-131 About the Authors Dr. Robin Harris served during the 1980s as an adviser at the United Kingdom Treasury and Home Office, as Director of the Conservative Party Research Department, and as a member of Prime Minister Margaret Thatcher’s Downing Street Policy Unit. He continued to advise Lady Thatcher after she left office and has edited the definitive volume of her Collected Speeches. Dr. Harris is now an author and journalist. His books include Dubrovnik: A History (Saqi Books, 2003); Beyond Friendship: The Future of Anglo–American Relations (The Heritage Foundation, 2006); Talleyrand: Betrayer and Saviour of France (John Murray, 2007); and The Conservatives: A History (Bantam Press, 2011). The author wishes to express his gratitude to Erica Munkwitz, Operations Coordinator in the Margaret Thatcher Center for Freedom at The Heritage Foundation, for her assistance with research for this report. Photo on the Cover— © Robert Smith / Alamy This paper, in its entirety, can be found at: http://report.heritage.org/sr131 Produced by the Margaret Thatcher Center for Freedom The Heritage Foundation 214 Massachusetts Avenue, NE Washington, DC 20002 (202) 546-4400 | heritage.org Nothing written here is to be construed as necessarily reflecting the views of The Heritage Foundation or as an attempt to aid or hinder the passage of any bill before Congress. SPECIAL REPORT | NO. -
Institute of Commonwealth Studies
University of London INSTITUTE OF COMMONWEALTH STUDIES VOICE FILE NAME: COHP Carl Dundas Key: SO: Dr Sue Onslow (Interviewer) CD: Carl Dundas (Respondent) Part One: SO: This is Dr Sue Onslow talking to Mr Carl Dundas in Milton Keynes on Tuesday, 10th February 2015. Mr Dundas, thank you very much for agreeing to take part in this Commonwealth Oral Histories project. CD: It’s a pleasure. SO: I wonder, please, if you could begin by reflecting on my request to add additional information and detail to your autobiography, My Wonderful World of Elections [Bloomington: AuthorHouse, 2011]. CD: Yes, indeed. I tried to look a little bit behind the scenes by relating some of the more interesting incidents that occurred during my stay at the Commonwealth Secretariat. I did a lot of diplomatic and quasi-diplomatic missions on behalf of two Secretaries General – Sir Sonny Ramphal and Chief Emeka Anyaoku. One of the areas that I was asked to assist the Secretary General with was, for instance, Grenada. I was the Secretariat’s liaison person, as it were, between the various authorities in Grenada after the incident and the Secretariat, and I might have mentioned, for instance, my search for someone to head the interim government. SO: You did, Sir. You make express reference to that in your autobiography. CD: Yes. Alister McIntyre: I went to Geneva to see him, and the funny thing about it is [that] by the time I went to New Delhi, where the heads were meeting, I was told that Mac couldn’t fill the post because he was ill. -
In Theatre, Fiction Is Being Underrated (By Lyn Gardner, the Guardian, 26/05/2014)
In theatre, fiction is being underrated (by Lyn Gardner, The Guardian, 26/05/2014) Verbatim plays are lauded, but they are no more true as theatre than fiction, or even a combination of both: it's story that matters. One of the errors that verbatim theatre often makes is to conclude that because something is true, it is more interesting. Or rather, more interesting than something that has been made up. It's like those Hollywood movie openings that tell you the film you are about to see is "based on a true story". Why should that give it any more currency than a story that has been entirely made up and yet feels as if it's real – or more real than real? After all, imagination is the currency of all writers and theatre-makers. The interest in London Road – revived next week by Bristol Old Vic Theatre School, in what is a very brave choice – is not merely in the fact that it is based on interviews with people living in Ipswich in the wake of the murders of several young women, but in its musical form. The Nature Theatre of Oklahoma's Life and Times is fascinating as a theatre experience, not because it is based on 16 hours of phone conversations with a young woman called Kristen Worrell, but because of the way it shapes and presents that lived experience in multiple formats from country house murder mystery to illuminated manuscript. Both shows recognise that even when based on somebody else's words, the truth exists not inherently in the words themselves but in the way they are offered up to us, in what is unspoken or lies beneath them. -
Thesis Final
Historicising Neoliberal Britain: Remembering the End of History A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2018 Christopher R Vardy School of Arts, Languages and Cultures List of Contents Abstract 4 Declaration and Copyright Statement 5 Acknowledgements 6 Introduction – Remembering the End of History Historicising neoliberal Britain 8 ‘Maggie’, periodisation and collective memory of the 1980s 15 Thatcherism and Neoliberalism 23 The End of History 28 Historical fictions, historicisation and historicity 34 Thesis structure 37 Chapter One – The End of History Introduction: Origin Myth 40 Histories 44 Fictions 52 Historicising the End of History 59 Struggle and inevitability 66 A War of Ghosts / History from Below 72 Conclusion: Historicity without futurity 83 Chapter Two – No Future Introduction: ‘Our little systems have their day; They have their day and cease to be’ 86 Bodily permeabilities 94 The financialised imaginary 97 Shaping the 1980s: reprise and the ‘light of the moment’ 104 Cocaine economics 110 Embodied crises of futurity 115 Conclusion: Dissonance 121 Chapter Three – Thatcher’s Children: Neoliberal Adolescence Introduction: Genesis or Preface? 123 2 Retro-memory 126 ‘You’ve obviously forgotten what it’s like’ 132 The nuclear 1980s 137 A brutal childhood 142 Adolescence and critique 147 Conclusion: Perpetual Adolescence 156 Chapter Four – Thatcher’s Children: Abusive Historicity Introduction: ‘Lost Boys’ and the arrested bildungsroman 158 The historical child: uses and abuses 162 Precarious Futures: Death of a Murderer 171 Re-writing the James Bulger murder: ‘faultline narratives’ and The Field of Blood 175 Cycles of abuse: Nineteen Eighty Three 183 Conclusion: Abusive historicity 188 Conclusion – Dissonance and Critique 189 Works cited 195 Word count: 72,506 3 Abstract This thesis argues that a range of twenty-first-century British historical fictions historicise contemporary neoliberal politics, economics and subject-formation through a return to the Thatcherite past. -
The Border Learning Resource Pack (2019) by Joseph Raynor
Learning Resource Pack Contents: Introduction to Theatre Centre, p2 The Creative Team (Who’s Who), p2 The Cast (Who’s Who), p5 The Border- What’s it about?, p6 Page-to-Stage, p7 Inside Rehearsals, p9 Design Process, p10 Design Scrapbook, p12 Set Design Storyboard, p14 Lesson Plans, p17 - p28 - Lesson 1: Exploring Characters, p17 Character Workshop Profile, p19 - Lesson 2: Exploring Themes, p20 - Lesson 3: Brecht & Epic Theatre Devices, p22 Extract 1, p24 Extract 2, p25 - Lesson 4: Devising Our Own Stories, p26 Extract 3, p28 Brecht the practitioner, p29 - p30 - Introduction to Brecht, p29 - Key facts, p30 Borders, p31 - Borders across world / history - Class discussion points The Border Learning Resource Pack (2019) by Joseph Raynor 1 www.theatre-centre.co.uk Introduction to Theatre Centre Theatre Centre brings world class theatre straight into the heart of schools. We make productions with big heart that empower children and young people to think, act, and speak for themselves. We design practical encounters with students and teachers which educate them on theatre practice, creative skills and activism. We are experts in touring, going everywhere, so all children and young people can see excellent live theatre. The Creative Team These are the people who have been working behind the scenes to create our production. Although you won’t see them on stage, without their work and creativity we wouldn’t have a production to perform. Afsaneh Gray | Playwright Afsaneh is a playwright and screenwriter. She is currently under commission by the Unicorn Theatre and the BBC. Her 2017 production Octopus transferred to London’s prestigious Theatre503 after a hugely successful run at the Edinburgh Fringe Festival. -
Handbagged: a Comedic Peek Into the Relationship Between Queen Elizabeth II & Prime Minister Margaret Thatcher
Handbagged: A comedic peek into the relationship between Queen Elizabeth II & Prime Minister Margaret Thatcher This teachers pack includes factual information as well as tasks and topics to be dealt with in the classroom. Cut and paste as you please, and please consult the official programme for additional information. Handbagged A Synopsis Moira Buffini´s mischievous comedy speculates on a very provocative question: What did the world´s most powerful women talk about behind closed doors? Of course no one was actually privy to the meeting between the monarch and her prime minister, but in Handbagged we have Moira Buffini´s perspective, which is fresh and engaging. The play covers the eleven year period of Thatcher´s time as prime minister and we see a younger “Liz” and “Mags” battle their delicate balance of power over their tea time talks, with their older selves hovering near them ready to comment on the conversations. The play shows us a glimpse of the possible frustrations the Queen had, as being a sovereign who was unable to make executive decisions, but could only advise the Prime Minister. The play illustrates how difficult it could have been for the Queen when faced with Thatcher and her unflinching ideas, harsh and uncaring values and her belief that a Queen is just meant to shake hands and smile. Handbagged is about human relationships, differing opinions and it also refers to events that have shaped our society, our government and our attitude to politicians. Task: Reading Practice and Synonyms Synonyms Find one or two synonyms for each of these challenging words from the synopsis. -
Why British Sovereignty and Its Influence Since 1945 Resulted in Brexit Jeffrey Brandt [email protected]
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Theses Theses, Dissertations, Capstones and Projects Winter 12-14-2018 It Could Never Last: Why British sovereignty and its influence since 1945 resulted in Brexit Jeffrey Brandt [email protected] Follow this and additional works at: https://repository.usfca.edu/thes Part of the European History Commons, International Relations Commons, Other International and Area Studies Commons, Other Political Science Commons, Political History Commons, and the Political Theory Commons Recommended Citation Brandt, Jeffrey, "It Could Never Last: Why British sovereignty and its influence since 1945 resulted in Brexit" (2018). Master's Theses. 1165. https://repository.usfca.edu/thes/1165 This Thesis is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Theses by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. IT COULD NEVER LAST WHY BRITISH SOVEREIGNTY AND ITS INFLUENCE SINCE 1945 RESULTED IN BREXIT JEFF BRANDT UNIVERSITY OF SAN FRANCISCO NOVEMBER 2018 MAIS ABSTRACT The EU Referendum of June 2016 marked a watershed moment for the United Kingdom, as it sought to once again reassert its sovereignty and retake its place in the world as an independent state, free from European Union infringement. The British are usually seen as the cussid ones in Europe, stubbornly holding on to their principles and traditions of sovereignty. -
Masaryk University Faculty of Arts
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Markéta Šonková Public Image and Perception of Current British Royal Family Bachelor‟s Diploma Thesis Supervisor: prof. Mgr. Milada Franková, CSc., M.A. 2014 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Markéta Šonková I would like to thank Professor Mgr. Milada Franková, CSc., M.A. for her kind guidance, enormous patience and priceless help throughout the whole process of researching and writing this thesis. I would also like to thank Dr. Diarmuid Scully from University College Cork who kindly provided me with materials regarding the Anglo-Irish relationship during my time at Cork, as well as to Dr. Lydia Martens from Keele University who provided me with insightful and helpful observations concerning the media part of my research. My thanks also belong to Dr. Emma Head, also from Keele University, whom I consulted in connection to the sociological part of my research. Table of Contents 1 Introduction ............................................................................................................... 1 2 Evolution of the Institution: British Monarchy in the Course of History .................. 6 3 Official Role of the Monarch and the Royal Family in Today‟s World: Politics, Democracy and Other State-Related Functions .............................................................. 22 4 Mediated Monarchy: Media and Social Perspective ............................................... 28 4.1 Mediated Monarchy: The Media Perspective .................................................. 28 4.1.1 British Monarchy and British Media: Evolution of the Relationship ....... 28 4.1.2 Press and the Royals during the Reign of Elizabeth II: Flagship Events and the Royal Scandals ........................................................................................... -
August 24/02/2014 17:01 Page 1
Warwickshire Cover - March_Mids Cover - August 24/02/2014 17:01 Page 1 WARWICKSHIRE WHAT’S ON WARWICKSHIRE WHAT’S THE MIDLANDS ESSENTIAL ENTERTAINMENT GUIDE WARWICKSHIRE ISSUE 339 MARCH MARCH 2014 ’ JACK Whatwww.whatsonlive.co.uk sOnISSUE 339 MARCH 2014 WHITEHALL KING OF COMEDY IN THE MIDLANDS WARWICK DAVIS PART OF MIDLANDS WHAT’S ON MAGAZINE GROUP PUBLICATIONS GROUP MAGAZINE ON WHAT’S MIDLANDS OF PART talks about The Reduced Height Theatre Company interview inside... CANDOCO DANCE presents a triple bill of works in Coventry @WHATSONWARWICKS WWW.WHATSONLIVE.CO.UK @WHATSONWARWICKS MAXWELL CAULFIELD Singin’ In The Rain interview inside... wed 26 Mar - sat 19 apr 024 7655 3055 I www.belgrade.co.uk grand_whatson FP March_Layout 1 24/02/2014 09:16 Page 1 Great Theatre at the Grand! MON 3 - SAT 8 MARCH TUES 11 - SAT 15 MARCH MON 17 - TUES 18 MARCH BILL KENWRIGHT PRESENTS PAUL BUNYAN BRITTEN THE MAGIC FLUTE MOZART “AS GOOD AND MAD AS OPERA GETS.” OBSERVER IT’S BACK -AND IT’S GONNA LIVE FOREVER! THU 20 - FRI 21 MARCH WED 26 - SAT 29 MARCH MON 31 MARCH - SAT 5 APRIL ##### A BRAND NEW RE-STAGED VERSION OF THE CLASSIC AMERICAN ‘AN EVENING OF RARE, RAW POWER’ FRONTIER DANCE MUSICAL! THE INDEPENDENT Book by Directed and Choreographed by and DAVID S. LANDAY PATTI COLOMBO LAWRENCE KASHANew Songs by Music by Lyrics by and JOEL HIRSCHORN GENE DE PAUL JOHNNY MERCER AL KASHA TUES 8 - SAT 12 APRIL ALSO BOOKING WED 23 - SUN 27 APRIL SAT 22 MARCH LESLEY JOSEPH HOT FLUSH ............................................................................................ SUN 30 MARCH THE SOLID SILVER 60s SHOW ........................................................................................... -
Hamlet Refugee Week Hamlet
HAMLET REFUGEE WEEK HAMLET CONTENTS. LIKE IT LIKE AS YOU YOU AS SONNETS 3 Welcome 4 Hamlet Company 8 Synopsis 10 Bringing Hamlet Home by Dr Farah Karim-Cooper 14 Ensemble Voices Contributions from the Globe Ensemble 22 Biographies & Rehearsal Photos GLOBE ON 32 Do You Mark That? by Emma Smith TOUR EMILIA 34 This Wooden ‘O’ GLOBE THE WINTER’S 36 The Globe Today PLAYER TALE 38 Education 42 Guided Tours & Exhibition 44 Food & Drink 45 Shop & Globe Player THE TWO 46 Support Us NOBLE EYAM 48 For Shakespeare’s Globe KINSMEN 51 Our Volunteer Stewards 54 Our Supporters LOVE’S OTHELLO LABOUR’S LOST Shakespeare’s Tales WELCOME. Telling Dear all, Celebrate the joy of storytelling at Shakespeare’s Telling Tales, A huge, huge welcome to Shakespeare’s Globe our lively family festival, now in its third year. and to the start of our 2018 Summer Season. What better way to kick off than with the words ‘Who’s 27 – 29 July 2018 There?’ from our opening play, Hamlet, followed Visit shakespearesglobe.com/tellingtales for news by As You Like It: two plays that we know were about our festival line-up as it’s announced. written specifically for the unique architectural #TellingTales playing conditions of the wooden ‘O’. Where else can you say and hear the words ‘this distracted Globe’ or ‘All the world’s a stage’ and not be immediately aware of the theatre in which you are sitting… or standing? Where else can Hamlet say ‘now I am alone’ and see the whites of the eyes of the 1,500 people that accompany him in that moment? There are, of course, as many understandings and interpretations of Shakespeare as there are people and if Shakespeare is one of our greatest playwrights, wrestling with the human condition in all its guises, then it must also be true that Shakespeare is for all.