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Robert Lepage's Scenographic Dramaturgy: the Aesthetic Signature at Work
1 Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work Melissa Poll Abstract Heir to the écriture scénique introduced by theatre’s modern movement, director Robert Lepage’s scenography is his entry point when re-envisioning an extant text. Due to widespread interest in the Québécois auteur’s devised offerings, however, Lepage’s highly visual interpretations of canonical works remain largely neglected in current scholarship. My paper seeks to address this gap, theorizing Lepage’s approach as a three-pronged ‘scenographic dramaturgy’, composed of historical-spatial mapping, metamorphous space and kinetic bodies. By referencing a range of Lepage’s extant text productions and aligning elements of his work to historical and contemporary models of scenography-driven performance, this project will detail how the three components of Lepage’s scenographic dramaturgy ‘write’ meaning-making performance texts. Historical-Spatial Mapping as the foundation for Lepage’s Scenographic Dramaturgy In itself, Lepage’s reliance on evocative scenography is inline with the aesthetics of various theatre-makers. Examples range from Appia and Craig’s early experiments summoning atmosphere through lighting and minimalist sets to Penny Woolcock’s English National Opera production of John Adams’s Dr. Atomic1 which uses digital projections and film clips to revisit the circumstances leading up to Little Boy’s release on Hiroshima in 1945. Other artists known for a signature visual approach to locating narrative include Simon McBurney, who incorporates digital projections to present Moscow via a Google Maps perspective in Complicité’s The Master and Margarita and auteur Benedict Andrews, whose recent production of Three Sisters sees Chekhov’s heroines stranded on a mound of dirt at the play’s conclusion, an apt metaphor for their dreary futures in provincial Russia. -
Issue 17 Ausact: the Australian Actor Training Conference 2019
www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’: -
Avance Dossier De Prensa
AVANCE1 DOSSIERwww.madrid.org/fo DE PRENSA AVANCE XXVIII FESTIVAL DE OTOÑO EN PRIMAVERA Foto: Fernando Aceves 2 www.madrid.org/fo2 www.madrid.org/fo 3 3 www.madrid.org/fowww.madrid.org/fo EN PRIMAVERA XXVIII FESTIVAL DE OTOÑO AVANCE DE PROGRAMACIÓN ÍNDICE DE ESPECTÁCULOS POR ORDEN ALFABÉTICO 7 ÍNDICE DE COMPAÑÍAS POR ORDEN ALFABÉTICO 9 INTRODUCCIÓN 11 ESPECTÁCULOS 13 PROGRAMACIÓN POR ESPACIOS ESCÉNICOS 219 PROGRAMACIÓN POR ORDEN CRONOLÓGICO 223 DIRECCIONES Y PRECIOS. VENTA DE LOCALIDADES 233 Foto: Iván y Nacho Azagra XXVIII festival de otoño en primavera Comunidad de Madrid XXVIII festival de otoño en primavera Comunidad de Madrid XXVIII festival de otoño en primavera Comunidad de Madrid XXVIII festival de otoño en primavera Comunidad de Madrid XXVIII festival de otoño en 4 www.madrid.org/fo4 www.madrid.org/fo 5 5 www.madrid.org/fowww.madrid.org/fo Foto: Andrew Bruce Foto: en primavera Índice por espectáculos XXVIII festival de otoño 2: DIALOGUE WITH LUCINDA Nicole Beutler 127 AL MENOS DOS CARAS Projects in Movement - Sharon Fridman 109 ALGO DE RUIDO HACE Lautaro Perotti 121 AMERICAN UnPOP Bang on a Can All-Stars 37 AMNESIA Familia Productions - Fadhel Jaïbi 201 BAILE DE MÁSCARAS State Theater Evgueny Vakhtangov 207 CIRCA Circa 43 CIRCENSES Circus Ronaldo 19 COCORICO Patrice Thibaud 91 COMEDIA Y SUEÑO Compañía Teatro del Estudio 159 DELUSION Laurie Anderson 177 EL VIENTO EN UN VIOLÍN Timbre 4 85 ESTADO DE IRA Ciro Zorzoli 139 JUNGLES Patrice Thibaud 133 KASPAR de Peter Handke Theater an der Ruhr 189 KÖRPER Sasha Waltz & Guests 145 LA CURVA -
Teacher's Notes 2007
Sydney Theatre Company and Sydney Festival in association with Perth International Festival present the STC Actors Company in The War of the Roses by William Shakespeare Teacher's Resource Kit Part One written and compiled by Jeffrey Dawson Acknowledgements Thank you to the following for their invaluable material for these Teachers' Notes: Laura Scrivano, Publications Manager,STC; Tom Wright, Associate Director, STC Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company The Wars of the Roses Teachers Notes © 2009 1 Contents Production Credits 3 Background information on the production 4 Part One, Act One Backstory & Synopsis 5 Part One, Act Two Backstory & Synopsis 5 Notes from the Rehearsal Room 7 Shakespeare’s History plays as a genre 8 Women in Drama and Performance 9 The Director – Benedict Andrews 10 Review Links 11 Set Design 12 Costume Design 12 Sound Design 12 Questions and Activities Before viewing the Play 14 Questions and Activities After viewing the Play 20 Bibliography 24 Background on Part Two of The War of the Roses 27 Sydney Theatre Company The Wars of the Roses Teachers Notes © 2009 2 Sydney Theatre Company and Sydney Festival in association with Perth International Festival present the STC Actors Company in The War of the Roses by William Shakespeare Cast Act One King Richard II Cate Blanchett Production -
Chloe Armstrong
JOSH MCCONVILLE | Actor FILM Year Production / Character Director Company 2017 1% Stephen McCallum Head Gear Films Skink 2016 WAR MACHINE David Michôd Porchlight Films Payne 2015 JOE CINQUE'S CONSOLATION Sotiris Dounoukos Consolation Productions Chris 2014 DOWN UNDER Abe Forsythe Riot Films Gav 2013 THE INFINITE MAN Hugh Sullivan Infinite Man Productions P/L Dean Trilby 2012 THE TURNING “COMMISSION” David Wenham ArenaMedia Vic Lang TELEVISION Year Production/Character Director Company 2017 HOME & AWAY Various Seven Network Caleb 2015 CLEVERMAN Wayne Blair ABCTV Dickson 2013 THE KILLING FIELD Samantha Lang Seven Network Operations Jackson 2012 REDFERN NOW Various ABC TV/Blackfella Films Photographer Shanahan Management Pty Ltd Level 3 | Berman House | 91 Campbell Street | Surry Hills NSW 2010 PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] 2011 WILD BOYS Various Southern Star Productions No. 8 Ben 2009 UNDERBELLY II: Various Screentime A TALE OF TWO CITIES Hurley THEATRE Year Production/Character Director Company 2017 CLOUD 9 Kip Williams Sydney Theatre Company Clive/Cathy 2016 A MIDSUMMER NIGHT’S DREAM Kip Williams Sydney Theatre Company Bottom 2016 ALL MY SONS Kip Williams Sydney Theatre Company George Deever 2016 HAY FEVER Imara Savage Sydney Theatre Company Sandy Tyrell 2016 ARCADIA Richard Cottrell Sydney Theatre Company Bernard Nightingale 2015 HAMLET Damien Ryan Bell Shakespeare Hamlet 2015 AFTER DINNER Imara Savage Sydney Theatre Company -
PETER CARROLL |Actor
SHANAHAN PETER CARROLL |Actor THEATRE Year Production/Character Director Company 2019 LIFE OF GALILEO Eamon Flack Belvoir 7th Actor 2019 CAT ON A HOT TIN ROOF Kip Williams Sydney Theatre Company Reverend Tooker 2019 MARY STUART Lee Lewis Sydney Theatre Company Shrewsbury 2018 AN ENEMY OF THE PEOPLE Anne-Louise Sarks Belvoir Morton Kiil 2018 THE RESISTIBLE RISE OF Kip Williams Sydney Theatre Company ARTURO UI Dogsborough 2017 THREE SISTERS Kip Williams Sydney Theatre Company Phillip 2017 MARK COLVIN’S KIDNEY David Berthold Belvoir David, Bruce & Others 2016 TWELFTH NIGHT Eamon Flack Belvoir Malvolio 2016 KRAPP’S LAST TAPE Nescha Jelk State Theatre Company of (MONA FOMO tour) South Australia Krapp Shanahan Management Pty Ltd PO Box 1509 Darlinghurst NSW 1300 Australia ABN 46 001 117 728 Telephone 61 2 8202 1800 Facsimile 61 2 8202 1801 [email protected] SHANAHAN 2015 SEVENTEEN Anne-Louise Sarks Belvoir Tom 2015 KRAPP’S LAST TAPE Nescha Jelk State Theatre Company of Krapp South Australia 2014 CHRISTMAS CAROL Anne-Louise Sarks Belvoir Marley and Other 2014 OEDIPUS REX Adena Jacobs Belvoir Oedipus 2014 NIGHT ON BALD MOUNTIAN Matthew Lutton Malthouse Theatre Mr Hugo Sword 2012-13 CHITTY CHITTY BANG BANG Roger Hodgman TML Enterprises Grandpa Potts 2012 OLD MAN Anthea Williams B Sharp Belvoir (Downstairs) Albert 2011 NO MAN’S LAND Michael Gow QTC/STC Spooner 2011 DOCTOR ZHIVAGO Des McAnuff Gordon Frost Organisation Alexander 2010 THE PIRATES OF PENZANCE Stuart Maunder Opera Australia Major-General Stanley 2010 KING LEAR Marion Potts Bell -
Bloody Poetry: on the Role of Medicine in John Keats's Life and Art
Caroline Bertonèche, On the Role of Medicine in John Keat’s Life and Art Bloody Poetry: On the Role of Medicine in JoHn Keats's Life and Art Caroline Bertonèche To see Keats only as yet another British Romantic poet, author of the odes and the Hyperions, who died in exile, after one last fit of tuberculosis, is to forget that he spent as many years – six years to be precise – of his short life studying medicine as he did writing poetry. First a young apprentice to an apothecary, then a medical student from 1811 to 1816, Keats chose to start his career as an artist without completely burying his scientific past, making sure never to get rid of his old books on medicine – these books that were to previously shape his intellect before he even started putting together his collections of poems. Satisfied to have had the ability to distance himself from a rather contrasted form of education in order to favour a unified conception of knowledge, Keats will always seem to go back to those first readings as a source of reference. They are indeed the foundations of this unique rapprochement between medicine and poetry which, in British Romanticism, is certainly specific to him. It takes a visionary painter and a close friend, John Hamilton Reynolds, to remind us, in his very axiomatic letter of 3 May 1818 that Keats will never cease to praise the medical world as a means to keep “every department of knowledge” alive. From this pattern of now two complementary backgrounds, he therefore extracts the binary substance of one “great whole”1: Were I to study physic or rather Medicine again, — I feel it would not make the least difference in my Poetry; when the Mind is in its infancy a Bias is in reality a Bias, but when we have acquired more strength, a Bias becomes no Bias. -
Chatel Theatre Musical De Paris
CHATEL THEATRE MUSICAL DE PARIS Peter Handke L'Heure où nous ne savions rien l'un de l'autre Document de communication du Festival d'Automne à Paris - tous droits réservés L'UN DES PLUS GRANDS PLAISIRS DE LA MUSIQUE, C'EST DE LA FAIRE AIMER AUX AUTRES. /11éceK et.r /1hsiCel Document de communication du Festival d'Automne à Paris - tous droits réservés CHANDe ISSEY MIYAKE MEN 3, place des Vosges 75004 Paris te1.48 87 01 86 Storchengasse 7 in Gassen, CH8001 Zurich te1.01 211 53 23 270 Brompton Road, London SW3 te1.071 581 3760 992 Madison Avenue, New York, NY10021 te1.212 439 7822 L'abus d'alcool daereux pour la santé : sachez apprécier eon mer avec modération. Document de communication du Festival d'Automne à Paris - tous droits réservés Franco Donatoni Brian Ferneyhough CHATE LET Niccolo Castiglioni THEATRE MUSICAL DE PARIS La terrible voix de Satan Caries Santos Gregory Mottpn Claude Réày Toni Morrison Le Théâtre du Châtelet Max Roach et le Festival d'Automne à Paris pescrizione présentent ,una Battaglia Gergy Ligeti ranz, Kafka itri Chosteovitcl. gio Barberio Peter Handke Corsetti Morton Feld an L'Heure g Emmanuel Nunes où nous ne savions rien L'Orestie -----' Helmut Lachenman Eschyle l'un de l'autre Peter Stein Une femme douce Le marchand Un spectacle =iodor M. Dostoïevski de Venise Robert Wilson William Shakespeare Mise en scène Luc Bondy Peler Sellam Décors Gilles Aillaud Bérichte fùr La Grenya Costumes Susanne Raschig eine Akademie L'heure où no de Pas quai Picanya Franz Kafka ne savions mei Caries Santos Coproduction Schaubühne -
Josh Mcconville
JOSH MCCONVILLE Training: NIDA and Griffith University Film: Lone Wolf Conrad Jonathan Ogilvie Future Pictures Fantasy Island Sarge Jeff Wadlow Columbia Pictures Top End Wedding Officer Kent Wayne Blair Goalpost M4M Ice Man Paul Ireland Toothless Pictures Escape and Evasion Seth Storm Ashwood Bronte Pictures The Merger Snapper Mark Grentell Umbrella Entertainment 1% Skink Stephen McCallum Head Gear Films War Machine Payne David Michod Netflix Down Under Gav Abe Wild Eddie Joe Cinque's Consolation Chris Sotiris Dounoukos Consolation Productions The Infinite Man Dean Trilby Hugh Sullivan Infinite man Productions The Turning "Commission" Vic lang David Wenham ArenaMedia TV: Wakefield Scott Jocelyn Moorhouse & Kim Morduant Jungle Ent. Mr Inbetween S2 Alex Nash Edgerton Blue-Tongue Films Home and Away Caleb Snow Alan Bateman 7 Network Cleverman Dickson Leah Purcell Goalpost Pictures Redfern Now Photographer Various ABC TV / Blackfella Films Wild Boys Ben Barratt Southern Star Ent. Shirley Barratt Underbelly II Michael Hurley C9 Network Tony Tilse Theatre: Cloud 9 Clive/Cathy Kip Williams Sydney Theatre Company A Midsummer Night's Dream Bottom Kip Williams Sydney Theatre Company All My Sons George Deever Kip Williams Sydney Theatre Company Hay Fever Sandy Tyrell Imara Savage Sydney Theatre Company Arcadia Bernard Nightingale Richard Cottrell Sydney Theatre Company Hamlet Hamlet Damien Ryan Bell Shakespeare Tour Death of A Salesman Biff Adam Mitchell Black Swan Theatre Company The Boys Brett Sprague Sam Strong Griffin Theatre Company Josh McConville -
Sydney Theatre Company Annual Report 2011 Annual Report | Chairman’S Report 2011 Annual Report | Chairman’S Report
2011 SYDNEY THEATRE COMPANY ANNUAL REPORT 2011 ANNUAL REPORT | CHAIRMAn’s RepoRT 2011 ANNUAL REPORT | CHAIRMAn’s RepoRT 2 3 2011 ANNUAL REPORT 2011 ANNUAL REPORT “I consider the three hours I spent on Saturday night … among the happiest of my theatregoing life.” Ben Brantley, The New York Times, on STC’s Uncle Vanya “I had never seen live theatre until I saw a production at STC. At first I was engrossed in the medium. but the more plays I saw, the more I understood their power. They started to shape the way I saw the world, the way I analysed social situations, the way I understood myself.” 2011 Youth Advisory Panel member “Every time I set foot on The Wharf at STC, I feel I’m HOME, and I’ve loved this company and this venue ever since Richard Wherrett showed me round the place when it was just a deserted, crumbling, rat-infested industrial pier sometime late 1970’s and a wonderful dream waiting to happen.” Jacki Weaver 4 5 2011 ANNUAL REPORT | THROUGH NUMBERS 2011 ANNUAL REPORT | THROUGH NUMBERS THROUGH NUMBERS 10 8 1 writers under commission new Australian works and adaptations sold out season of Uncle Vanya at the presented across the Company in 2011 Kennedy Center in Washington DC A snapshot of the activity undertaken by STC in 2011 1,310 193 100,000 5 374 hours of theatre actors employed across the year litre rainwater tank installed under national and regional tours presented hours mentoring teachers in our School The Wharf Drama program 1,516 450,000 6 4 200 weeks of employment to actors in 2011 The number of people STC and ST resident actors home theatres people on the payroll each week attracted into the Walsh Bay precinct, driving tourism to NSW and Australia 6 7 2011 ANNUAL REPORT | ARTISTIC DIRECTORs’ RepoRT 2011 ANNUAL REPORT | ARTISTIC DIRECTORs’ RepoRT Andrew Upton & Cate Blanchett time in German art and regular with STC – had a window of availability Resident Artists’ program again to embrace our culture. -
Thorragnarok59d97e5bd2b22.Pdf
©2017 Marvel. All Rights Reserved. CAST Thor . .CHRIS HEMSWORTH Loki . TOM HIDDLESTON Hela . CATE BLANCHETT Heimdall . .IDRIS ELBA Grandmaster . JEFF GOLDBLUM MARVEL STUDIOS Valkyrie . TESSA THOMPSON presents Skurge . .KARL URBAN Bruce Banner/Hulk . MARK RUFFALO Odin . .ANTHONY HOPKINS Doctor Strange . BENEDICT CUMBERBATCH Korg . TAIKA WAITITI Topaz . RACHEL HOUSE Surtur . CLANCY BROWN Hogun . TADANOBU ASANO Volstagg . RAY STEVENSON Fandral . ZACHARY LEVI Asgardian Date #1 . GEORGIA BLIZZARD Asgardian Date #2 . AMALI GOLDEN Actor Sif . CHARLOTTE NICDAO Odin’s Assistant . ASHLEY RICARDO College Girl #1 . .SHALOM BRUNE-FRANKLIN Directed by . TAIKA WAITITI College Girl #2 . TAYLOR HEMSWORTH Written by . ERIC PEARSON Lead Scrapper . COHEN HOLLOWAY and CRAIG KYLE Golden Lady #1 . ALIA SEROR O’NEIL & CHRISTOPHER L. YOST Golden Lady #2 . .SOPHIA LARYEA Produced by . KEVIN FEIGE, p.g.a. Cousin Carlo . STEVEN OLIVER Executive Producer . LOUIS D’ESPOSITO Beerbot 5000 . HAMISH PARKINSON Executive Producer . VICTORIA ALONSO Warden . JASPER BAGG Executive Producer . BRAD WINDERBAUM Asgardian Daughter . SKY CASTANHO Executive Producers . THOMAS M. HAMMEL Asgardian Mother . SHARI SEBBENS STAN LEE Asgardian Uncle . RICHARD GREEN Co-Producer . DAVID J. GRANT Asgardian Son . SOL CASTANHO Director of Photography . .JAVIER AGUIRRESAROBE, ASC Valkyrie Sister #1 . JET TRANTER Production Designers . .DAN HENNAH Valkyrie Sister #2 . SAMANTHA HOPPER RA VINCENT Asgardian Woman . .ELOISE WINESTOCK Edited by . .JOEL NEGRON, ACE Asgardian Man . ROB MAYES ZENE BAKER, ACE Costume Designer . MAYES C. RUBEO Second Unit Director & Stunt Coordinator . BEN COOKE Visual Eff ects Supervisor . JAKE MORRISON Stunt Coordinator . .KYLE GARDINER Music by . MARK MOTHERSBAUGH Fight Coordinator . JON VALERA Music Supervisor . DAVE JORDAN Head Stunt Rigger . ANDY OWEN Casting by . SARAH HALLEY FINN, CSA Stunt Department Manager . -
Dossier Il Cavaliere E La Dama.Indd
il cavaliere e la dama Carlo Goldoni Jean-Luc revol Théâtre Contact : Fabienne Rieser, Chargée de diffusion 03.86.93.09.11 / 06.47.91.86.84 [email protected] La Maison/Nevers - Scène conventionnée Art en territoire - Direction : Jean-Luc Revol 2 boulevard Pierre de Coubertin - CS 60416 – 58027 NEVERS CEDEX Texte français de Danièle Aron édité par l'Arche éditeur Mise en scène Jean-Luc Revol Assisté de Sébastien Fevre Avec Anne Bouvier (Donna Eleonora), Olivier Breitman (Don Flaminio), Frédéric Chevaux (Don Alonso), Antoine Cholet (Don Rodrigo), Jean-Marie Cornille (Anselmo / un huissier), Lorella Cravotta (Colombine), Raphaëline Goupilleau (Donna Claudia), José-Antonio Pereira (Balestra), Jean-luc Revol (Docteur Buonatesta / Toffolo), Vincent Talon (Pasquino / Don Filiberto) et Sophie Tellier (Donna Virginia) Décor / scénographie Audrey Vuong Costumes Pascale Bordet Création lumières Bertrand Couderc Création sonore Bernard Vallery Création graphique Florian Thierry Production déléguée La Maison / Nevers - Scène conventionnée d’intérêt national art en territoire Coproduction En cours www.maisonculture.fr Argument Donna Eleonora, issue de l’aristocratie, mais complètement ruinée, survit à Venise en compagnie de sa fidèle servante Colombine. Don Rodrigo, chevalier vénitien est fou d’amour pour elle, mais empêtré dans ses contradictions, n’arrive pas à lui avouer ses sentiments. Autour d’elle gravite un petit monde de personnages peu recommandables : un avocat véreux, et une assemblée de nobles oisifs et malveillants dont Donna Eleonora va devenir malgré elle, un trophée à conquérir. La mort de son époux exilé et l’intervention d’un riche marchand vont faire in extremis, pencher la balance en sa faveur..