October 15 — March 16 INKHEART: WHAT IF EVERY Book YOU READ… BECAME REAL?
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'The Left's Views on Israel: from the Establishment of the Jewish State To
‘The Left’s Views on Israel: From the establishment of the Jewish state to the intifada’ Thesis submitted by June Edmunds for PhD examination at the London School of Economics and Political Science 1 UMI Number: U615796 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U615796 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 F 7377 POLITI 58^S8i ABSTRACT The British left has confronted a dilemma in forming its attitude towards Israel in the postwar period. The establishment of the Jewish state seemed to force people on the left to choose between competing nationalisms - Israeli, Arab and later, Palestinian. Over time, a number of key developments sharpened the dilemma. My central focus is the evolution of thinking about Israel and the Middle East in the British Labour Party. I examine four critical periods: the creation of Israel in 1948; the Suez war in 1956; the Arab-Israeli war of 1967 and the 1980s, covering mainly the Israeli invasion of Lebanon but also the intifada. In each case, entrenched attitudes were called into question and longer-term shifts were triggered in the aftermath. -
Eugenie Pastor-Phd Thesis Moving Intimacies
MOVING INTIMACIES: A COMPARATIVE STUDY OF “PHYSICAL THEATRES” IN FRANCE AND THE UNITED KINGDOM EUGÉNIE FLEUR PASTOR ROYAL HOLLOWAY, UNIVERSITY OF LONDON DEPARTMENT OF DRAMA AND THEATRE A Thesis submitted as a partial fulfilment of the requirements of the degree of Ph.D. August 2014 1 DECLARATION OF AUTHORSHIP I, Eugénie Fleur Pastor, 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: 7 August 2014 2 ABSTRACT This thesis is an exploration of movement in contemporary “physical theatres”. I develop a renewed understanding of “physical theatres” as embodied framework to experience both spectatorship and theatre-making. I analyse how, in this type of performance, movement blurs distinctions between the intimate and the collective, the inside and the outside, thus challenging definitions of intimacy and tactility. The thesis consists of a comparative study of examples of “physical theatres”, in the 21st century, in France and in the UK. The comparison highlights that “physical theatres” practitioners are under-represented in France, a reason I attribute in part to a terminological absence in the French language. The four case studies range from itinerant company Escale and their athletic embodiment of a political ideal to Jean Lambert-wild’s theatre of “micro-movement”, from Told by an Idiot’s position in a traditional theatre context in the UK to my own work within Little Bulb Theatre, where physicality is virtuosic in its non- virtuosity. For each case study, I use a methodology that echoes this exploration of movement and reflects my position within each fieldwork. -
Conference Abstracts and Biographies
Conference Abstracts and Biographies Listed in alphabetical order by contributor’s surname TaPRA2009 Organizers at the University of Plymouth: Dr Lee Miller Dr Roberta Mock Dr Victor Ramirez Ladron de Guevara www.plymouth.ac.uk/arts/theatre Siân Adieshiah (Performance Identity Community Working Group) University of Lincoln “I just die for some authority! A little touch of leadership, a bit of bracing tyranny!”: Barriers to Utopia in Howard Brenton’s Greenland Written and performed just after Margaret Thatcher’s third election victory in Britain in 1987, Howard Brenton’s final play in his Utopian trilogy, Greenland is an isolated example during this period of a Left playwright’s attempt to construct a utopian future on stage. The second act of Greenland partially resembles classical utopian fiction and in doing so, has led some commentators to dismiss the play as tedious, static and lacking in dramatic interest. The act’s absence of conflict, lack of historicism, and the contentment of its inhabitants have been cited as reasons for its alleged dullness. This interpretation to some extent concurs with the character, Severan-Severan, whose view is that misery and suffering are essential to the human condition and that liberation is a living death. However, this approach neglects a more complex engagement with utopia that is present in the play. Audiences – along with the non-utopian character, Joan – respond to Greenland in a way that can be illuminated by Frederic Jameson’s idea of the ‘terror of obliteration,’ an idea that considers our hostility to utopia to be based upon the inconceivability of altogether different notions of subjectivity available in utopia. -
The Cut and Thrust: the Power of Political Debate in the Films of Ken Loach Author(S): Graham Fuller Source: Cinéaste , Fall 2015, Vol
The Cut and Thrust: The Power of Political Debate in the Films of Ken Loach Author(s): Graham Fuller Source: Cinéaste , Fall 2015, Vol. 40, No. 4 (Fall 2015), pp. 30-35 Published by: Cineaste Publishers, Inc. Stable URL: http://www.jstor.com/stable/26356460 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Cineaste Publishers, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Cinéaste This content downloaded from 95.183.184.51 on Fri, 07 Aug 2020 09:43:32 UTC All use subject to https://about.jstor.org/terms The Cut and Thrust The Power of Political Debate in the Films of Ken Loach by GrahamGraham Fuller Fuller resistance—most notably in The Wind That he was by the language of the communist a footnote to history: the story of the Shakes the Barley and the Allen-scripted Span books and leaflets a militant guest had sent Ken Loach's selfless attempt new offilm, the communist Jimmy's Hall, is ish Civil War film Land and Freedom (2005)— him. When the aristocratic pit owner John agitator James Gralton (1886-1945) and his has proved unavoidable. In contradistinction Pritchard (Edward Underdown) calls in fellow County Leitrim villagers to run a to the hyperbolic sequences of glorified may troops to harass the miners and their families dance hall and community center in the face hem and murder synonymous with Holly into submission, however, Joel and Ben find of anti-red paranoia and the puritanical wood cinema, talk is action in Loach's films. -
A State of Play: British Politics on Screen, Stage and Page, from Anthony Trollope To
Fielding, Steven. "The Televised Crisis." A State of Play: British Politics on Screen, Stage and Page, from Anthony Trollope to . : Bloomsbury Academic, 2014. 157–186. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781472545015.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 00:50 UTC. Copyright © Steven Fielding 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 The Televised Crisis The Clangers was a children’s animated television series featuring what their creator Oliver Postgate described as ‘a small tribe or extended family of civil mouse-like persons living their peaceful lives on, in and around a small, undis- tinguished moon’. They were ‘plump and shocking pink, with noses that were long, perhaps for sucking up … soup’.1 Originally broadcast on BBC One during 1969–72, the series was repeated many times thereafter. On the night of 10 October 1974 the BBC showed a special episode, ‘Vote for Froglet’, one designed for grown-ups, in which the narrator informs the Clangers that ‘the proudest moment of the British people [is] a parliamentary election’. The purpose of the episode was, however, not to celebrate the state of democracy on the day the country went to the polls. Postgate had something he wanted to get off his chest. The grandson of George Lansbury, who led the Labour party during 1932–5, Postgate was from a left-wing bohemian family. Yet, as the post-war period developed, he came to believe that ‘the prospect of a just and loving social order based on the principles of true socialism’, for which his grandfather and parents had worked, would not materialize. -
Socialist Television Drama, Newspaper Critics and the Battle of Ideas During the Crisis of Britain’S Post-War Settlement
Socialist television drama, newspaper critics and the battle of ideas during the crisis of Britain’s post-war settlement Author: Steven Fielding Journal: Twentieth Century British History Accepted for Publication: 1 February 2019 More than ever, ideas matter to political historians: many have now taken an ‘ideational turn’.1 This is especially true of students of the 1970s, the decade when a fierce ideological battle with huge consequences for the future raged over Britain’s ailing post-war settlement. By keeping the profit motive intact and leaving untouched most bastions of estaBlished power, but expanding the role of government and giving organized laBour a Bigger voice, some believed the settlement had permanently placed Britain somewhere Between socialism and the free market.2 Sustained by what Paul Addison described as a limited ‘Whitehall consensus’, the settlement nonetheless remained the suBject of keen ideological debate.3 Economic growth and popular affluence however meant that those who wanted to firmly wrest it towards socialism or the free market were largely excluded from influence within government. But once Britain’s mounting economic proBlems were compounded By the quadrupling of the price of oil in 1973-4 and the country found itself in an inflation-fueled recession, the existential questions long asked by the far-left and radical right won new audiences beyond Whitehall.4 If measured in strictly parliamentary terms it was the right that won this battle of ideas. Margaret Thatcher’s election as Prime Minister in 1979 -
HOME-2016-Annual-Report.Pdf
STORIES FROM HOME 2015-2016 HOME HOME IN THE MEDIA ★★★★★ DIRTY, RAUCOUS, AND AGLITTER WITH TAWDRY SEDUCTION. THE TIMES – THE FUNFAIR EVEN ON A TYPICALLY BALMY MAY MORNING IN MANCHESTER… MY SPIRITS ARE ELATED. WE HEAR A LOT FROM GEORGE OSBORNE ABOUT A “NEW NORTHERN POWERHOUSE”, BUT I’VE JUST EMERGED FROM A NORTHERN POWERHOUSE THAT’S UP AND RUNNING. THE TIMES ★★★★ BLANCHE MCINTYRE’S INNOVATIVE [PRODUCTION] SPOTLIGHTS THE CHORUS IN A WELCOME, RITUALISTIC REINVENTION. THE GUARDIAN – THE ORESTEIA MAGICAL… DIRECTOR WALTER MEIERJOHANN SHOULD FEEL JUSTIFIABLY PROUD OF THIS FIRST HOME CHRISTMAS PRODUCTION WHICH HITS ALL THE RIGHT NOTES. THE RIGHT NOTES GAYDIO – INKHEART THE SHOW EXCELS IN THE VISUALS… IT SHOULD ALSO BE LAUDED FOR SUPPORTING THE CREATION OF SIGNIFICANT ARTWORKS THROUGH THE MANY COMMISSIONS, CLEARLY PRODUCED TO A HIGH QUALITY. ART MONTHLY – THE HEART IS DECEITFUL ABOVE ALL THINGS MAGICAL… – A TRULY SPECIAL LIVE EVENT. HUFFINGTON POST – ICARUS AT THE EDGE OF TIME IT IS A HUGE FEATHER IN THE CAP OF HOME... IT IS ALSO ANOTHER MILESTONE IN MANCHESTER’S LONG ASSOCIATION WITH FILM-MAKING IN HONG KONG AND LONG MAY IT CONTINUE. NORTHERN SOUL – CRIME: HONG KONG STYLE 2 A YEAR OF NEW EXPERIENCES, NEW VOICES AND NEW STORIES JONTY CLAYPOLE, Over the following months, I saw These are some of the UK’s greatest CHAIR OF HOME TRUSTEES, many of the early shows at HOME. talents, already seeing HOME as a TALKS ABOUT JOINING HOME AT From the innovation of Golem to the lynchpin in the national ecology of THE START OF THE JOURNEY. provocative playfulness of Joana producing venues that enables the UK to Hadjithomas and Khalil Joreige's maintain its reputation as a world leader I'm lucky to have spent the last I Must First Apologise, what struck me for culture. -
The Lehman Trilogy
Park Avenue Armory, in collaboration with the National Theatre and Neal Street Productions, brings The Lehman Trilogy, by Stefano Massini, adapted by Ben Power, and directed by Sam Mendes to the Wade Thompson Dill Hall, following a sold-out run at the National Theatre Master actors Adam Godley, Ben Miles, and Simon Russell Beale will reprise their critically- acclaimed roles March 22 – April 20, 2019 Simon Russell Beale, Ben Miles and Adam Godley in The Lehman Trilogy at the National Theatre. Photo by Mark Douet. New York, NY – September 12, 2018 – In March 2019, Park Avenue Armory – in collaboration with the National Theatre and Neal Street Productions – will present the North American premiere of The Lehman Trilogy. Told in three parts in a single evening, the production will unfold in the 1 soaring 55,000-square-foot Wade Thompson Drill Hall from March 22 through April 20, 2019 in a strictly limited engagement. Directed by Sam Mendes, The Lehman Trilogy weaves through nearly two centuries of Lehman lineage, following the brothers Henry, Emanuel, and Mayer Lehman from their 1844 arrival in New York City to the 2008 collapse of the financial firm bearing their name. Adam Godley, Ben Miles, and Simon Russell Beale play the Lehman brothers, and a cast of characters including their sons and grandsons. As the inaugural production of the 2019 season, The Lehman Trilogy builds on the Armory’s history of presenting bold and engaging theater productions that explore the unexpected possibilities of the cross-genre cultural institution. The world premiere of Stefano Massini’s The Lehman Trilogy opened at the Piccolo Teatro in Milan in 2015. -
Land and Freedom Teachers' Notes
Teachers Notes This film is about life in the forces which supported the Republican side in the Spanish Civil War. The story is told from the point of view of a volunteer from Liverpool. The director is Ken Loach and the screenwriter is Jim Allen. Both are experienced filmmakers of political vision and socialist commitment. GCSE and A Level History students of twentieth century history would find the film most relevant. It brings alive the pain and tragedy of the ideological struggles in Spain and the wider world in the first part of the twentieth century. GCSE and A Level Spanish students would find it of particular benefit because of the use of Spanish language and the film's insights into a deep and long-lasting wound in Spanish society. Students of A Level English and Art who are studying the 1930's would find it beneficial as so many leading intellectual figures became involved. In 1936, a young unemployed Communist Party member, David Carr, decides to join in the struggle against fascism. On arrival in Spain he chances upon the Partido Obrero de Unification Marxista (POUM) a group of revolutionary communists. Oblivious to the internal politics, David believes that any anti-fascist group on the left must be alright to join. David gets sucked into the struggles between the various left-wing factions, His decision about which group holds the true torch of the revolution becomes a matter of life and death. He sees the various republican groups tear themselves apart rather than focus their attention on their real enemy, the Nationalists. -
Kazzazi, Seyedeh Anahit.Pdf
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details UNIVERSITY OF SUSSEX Performing Science: New Physics and Contemporary British and American Science Plays Thesis Submitted for DPhil in English Seyedeh Anahit Kazzazi Supervised by: Prof. Peter Boxall September 2016 I hereby declare that this thesis has not been and will not be submitted in whole or in print to another University for the award of any other degree. Seyedeh Anahit Kazzazi UNIVERSITY OF SUSSEX SEYEDEH ANAHIT KAZZAZI DPHIL IN ENGLISH PERFORMING SCIENCE: NEW PHYSICS AND CONTEMPORARY BRITISH AND AMERICAN SCIENCE PLAYS SUMMARY The present study uses the science of new physics (relativity theory and quantum mechanics) to construct a rigorous framework for analyzing the phenomenon of ‘science plays’, and as a means of exploring the implications that the new physics has for understanding theatrical representations. Basic facets of relativity theory and quantum mechanics are explained and used to develop an interdisciplinary approach to analyze the contemporary wave of science playwriting in Britain and America, the two cultures that have predominated in the tradition of science plays during the last three decades. -
The Revolution Betrayed: an Interview with Ken Loach Author(S): Richard Porton and Ken Loach Source: Cinéaste , 1996, Vol
The Revolution Betrayed: An Interview with Ken Loach Author(s): Richard Porton and Ken Loach Source: Cinéaste , 1996, Vol. 22, No. 1 (1996), pp. 30-31 Published by: Cineaste Publishers, Inc. Stable URL: http://www.jstor.com/stable/41661139 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Cineaste Publishers, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Cinéaste This content downloaded from 95.183.184.51 on Fri, 07 Aug 2020 09:26:40 UTC All use subject to https://about.jstor.org/terms CD Z3 O The Revolution OJ o 3" ZT O 0 Betrayed: š An Interview with Ken Loach 1°I g- I 3 1 O by Richard Porton ãT lä Loach , unquestionably one of Britain s most important wanted it to be an emotional story as well, with people who had tne ly filmmakers , zs fresi known for his gritty and compassionate limitations as well as the hopes of their times. .X X. portrayals of working-class life. Early in his career, a series Cineaste: How many drafts did the script go through ? of socially conscious BBC films established the fact that Loach was Loach: Hundreds, I would think. -
A Practice-As-Research Phd Volume 1
An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD Volume 1 Karen Morash Submitted for the Degree of PhD October 2016 Goldsmiths, University of London Department of Theatre and Performance 2 This thesis is available for library use on the understanding that it is copyright material and no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signed, Karen Morash 3 Abstract An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD The central research inquiry of this dissertation is how the experience of working within a collaborative context, employing the processes of devising, affects a playwright. It springs from the presentiment that the processes of devising are significantly different than traditional playwriting methodologies and have the potential to offer short and long-term benefits to both playwright and collaborators. A central focus of the dissertation is the figure of the writer-deviser as a distinctive artist with a particular skillset developed from both devising praxis and standard playwright training (which traditionally does not emphasise collaborative theatre-making). This dissertation therefore examines the historical and contemporary context of the writer-deviser in order to provide a foundation for the presentation and exegesis of my practice-as-research: a play written via the devising process and another play written as a solo playwright.