Rosencrantz & Guildenstern Are Dead
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Absurdism 3, 26, 33, 46–47, 50, 61 Academy Award 9, 10, 20, 23
Cambridge University Press 978-1-107-02195-2 - The Cambridge Introduction to Tom Stoppard William W. Demastes Index More information Index absurdism 3, 26, 33, 46–47, 50, 61 Ashcroft, Peggy 145 Academy Award 9, 10, 20, 23 Ayckbourn, Alan 42 Adam was a Gardener (Page) 84 Ayer, A. J. 66, 68, 137 After Magritte 7, 18, 31, 37, 60, 61–62, 140 Ballard, J. G. 20 Age of Reason 84 Banbury, Frith 140 Alberry Theatre, London 11 Barber, Victor 145 Albert’s Bridge 2, 6, 18, 32, 60, 139 Barer, Shlomo 116 Aldwych Theatre, London 7, 9, 10, 11, Barker, Clive 140 141, 145 Barnes, Clive 130 Almost-Free Theatre, London 8, 18, Barrett, Felix 13 19, 142 Barrett, Syd 130, 131, 135, 147 altruism 68 Bates, Alan 144 Alvin Theatre, New York 6, 139 Beckett, Samuel 2, 3, 15, 47, 49 Always 20 Bennett, Alan 139 Ambiance Lunch-Hour Theatre Club, Berkeley, George 52 London 8 Berlusconi, Silvio 78 American Conservatory Theater, San Berman, Ed 18, 19, 20, 142, 143 Francisco 11, 12, 145, 146 Bernard B. Jacobs Theatre, New York Amis, Kingsley 21, 54 13, 147 Amnesty International 19, 43 Betrayal (Pinter) 21 angry young men 15 Bigsby, C. W. E. 3 Anna Karenina (Tolstoy) 13, 24 Billington, Michael 130 Annis, Francesca 147 Billy Bathgate 2, 10, 20 Another Moon Called Earth 6, 17, Bohm, David 88 64, 139 Bolt, Robert 45 Arcadia 1, 10, 11, 13, 22, 24, 28, 33, 34, Bourne Ultimatum, The 20 79, 84–91, 92, 100, 108, 115, 116, Brantley, Ben 116, 117 127, 130, 135, 136–37, 145 Brater, Enoch 136, 137 Archimedes 51 Brazil 2, 9, 20 Arden, John 48 Bristol Evening World 15 Aristotle 51 British American Repertory Company, Artist Descending a Staircase 7, 10, 30, London 20, 143 34, 35, 37, 62, 71, 141 British Campaign for the Release of Arts Theatre, London 8, 19 Indonesian Political Prisoners 19 160 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02195-2 - The Cambridge Introduction to Tom Stoppard William W. -
Derek Goldby
Derek Goldby Derek Goldby directed the original production of ROSENCRANTZ AND GUILDENSTERN ARE DEAD for the National Theatre, as well as on Broadway; LOOT on Broadway - and UNIDENTIFIED HUMAN REMAINS off-Broadway. He has worked extensively in the United States, Canada and throughout Europe. Agents Nicki Stoddart [email protected] +44 (0) 20 3214 0869 Credits Other Production Company Notes 2011 AUTUMN AND WINTER Orange Tree Theatre, Richmond 2010 ENTERTAINING MR SLOANE Theatre de Poche, Brussels 1998 AFTER THE RAIN Atelier Theatral, Brussels 1998 BENT Theatre de Poche 1998 TRAINSPOTTING Theatre de Poche, Brussels & Cafe de la Danse, Paris 1999 DANCING AT LUGHNASA Rideau de Bruxelles 1999 LORD OF THE FLIES Theatre de Poche 2000 TRAINSPOTTING European Tour 2001 COLONEL BIRD Theatre de Poche, Brussels 2002 MISSING White Bear Theatre 2003 THE LIEUTENANT OF INISHMORE Theatre de Poche, Brussels 2003 THE MISANTHROPE Rose Bruford College 2003 UNE HISTOIRE VRAIE Theatre de Poche, Brussels 2004 AU RETOUR DE LA SORCIERE Theatre de Poche, Brussels United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes 2004 REALITY SHOW & MUSIC LOVERS Rose Bruford College 2005 MYTH, PROPAGANDA AND DISASTER IN NAZI Theatre de Poche, Brussels GERMANY AND CONTEMPORARY AMERICA 2005 THE THREESOME Rose Bruford College 2006 THE COSMONAUT'S LAST MESSAGE TO THE RADA Final Year students WOMAN HE ONCE LOVED IN THE FORMER SOVIET UNION 2007 MOTORTOWN Theatre de Poche, -
Nine Night at the Trafalgar Studios
7 September 2018 FULL CASTING ANNOUNCED FOR THE NATIONAL THEATRE’S PRODUCTION OF NINE NIGHT AT THE TRAFALGAR STUDIOS NINE NIGHT by Natasha Gordon Trafalgar Studios 1 December 2018 – 9 February 2019, Press night 6 December The National Theatre have today announced the full cast for Nine Night, Natasha Gordon’s critically acclaimed play which will transfer from the National Theatre to the Trafalgar Studios on 1 December 2018 (press night 6 December) in a co-production with Trafalgar Theatre Productions. Natasha Gordon will take the role of Lorraine in her debut play, for which she has recently been nominated for the Best Writer Award in The Stage newspaper’s ‘Debut Awards’. She is joined by Oliver Alvin-Wilson (Robert), Michelle Greenidge (Trudy), also nominated in the Stage Awards for Best West End Debut, Hattie Ladbury (Sophie), Rebekah Murrell (Anita) and Cecilia Noble (Aunt Maggie) who return to their celebrated NT roles, and Karl Collins (Uncle Vince) who completes the West End cast. Directed by Roy Alexander Weise (The Mountaintop), Nine Night is a touching and exuberantly funny exploration of the rituals of family. Gloria is gravely sick. When her time comes, the celebration begins; the traditional Jamaican Nine Night Wake. But for Gloria’s children and grandchildren, marking her death with a party that lasts over a week is a test. Nine rum-fuelled nights of music, food, storytelling and laughter – and an endless parade of mourners. The production is designed by Rajha Shakiry, with lighting design by Paule Constable, sound design by George Dennis, movement direction by Shelley Maxwell, company voice work and dialect coaching by Hazel Holder, and the Resident Director is Jade Lewis. -
Written by Ben Woolf Edited by Sam Maynard and Katherine Igoe-Ewer Rehearsal and Production Photography by Johan Persson CONTENTS BACKGROUNDPRODUCTIONRESOURCES
Written by Ben Woolf Edited by Sam Maynard and Katherine Igoe-Ewer Rehearsal and Production Photography by Johan Persson CONTENTS BACKGROUNDPRODUCTIONRESOURCES Contents Introduction 3 Section 1: Background to CLOSER 4 CLOSER: An introduction 5 Characters 6 CLOSER in Context 10 Section 2: The Donmar’s Production 15 Cast and Creative Team 16 Rehearsal Diaries 17 An Interview with Playwright Patrick Marber 21 An Interview with the Cast of CLOSER 26 Section 3: Resources 30 Spotlight on Deborah Andrews, Costume Supervisor 31 Workshop Exercises 35 Bibliography 39 2 CONTENTS BACKGROUNDPRODUCTIONRESOURCES Introduction Welcome to this Behind the Scenes Guide to the Donmar Warehouse production of Patrick Marber’s CLOSER, directed by David Leveaux. The following pages contain an exclusive insight into the process of bringing this production from page to stage. Written by playwright and director Patrick Marber, CLOSER was critically acclaimed when it premiered at the National Theatre in 1997, winning Olivier, Evening Standard and New York Drama Critic’s Circle Awards. It has since been produced in the West End, Broadway, around the world and adapted into an international movie. This is its first major London revival. This guide aims to set the play and the production in context. It includes conversations with Patrick Marber and the cast who bring the characters to life. There are also extracts from Resident Assistant Director Zoé Ford’s rehearsal diary and practical exercises designed for use in the classroom. The guide has a particular focus on costume and includes a conversation with Deborah Andrews, the production’s costume supervisor, whose role is crucial in finding the right look for each character. -
Synesthetic Landscapes in Harold Pinter's Theatre
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in -
An Abstract of the Thesis Of
AN ABSTRACT OF THE THESIS OF Nicolas Evans for the degree of Master of Arts in English presented on June 2, 2017. Title: (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh. Abstract approved: ______________________________________________________ Neil R. Davison This thesis examines the postmodern confrontation of representation throughout the oeuvre of Martin McDonagh. I particularly look to his later body of work, which directly and self-reflexively confronts issues of artistic representation & masculinity, in order to gain a more nuanced understanding of his earliest and most controversial plays. In part, this thesis addresses misperceptions regarding The Leenane Trilogy, which was initially criticized for the plays’ shows of irreverence and use of caricature and cultural stereotypes. Rather than perpetuating propagandistic or offensive representations, my analysis explores how McDonagh uses affect and genre manipulation in order to parody artistic representation itself. Such a confrontation is meant to highlight the inadequacy of any representation to truly capture “authenticity.” Across his oeuvre, this postmodern proclivity is focused on disrupting the solidification of discourses of hyper-masculinity in the vein of postcolonial, diasporic, and mainstream media’s constructions of masculinity based on aggression and violence. ©Copyright by Nicolas Evans June 2, 2017 All Rights Reserved (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh by Nicolas Evans A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 2, 2017 Commencement June 2017 Master of Arts thesis of Nicolas Evans presented on June 2, 2017 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. -
Tom Stoppard's "Rosencrantz and Guildenstern Are Dead" As a Creative Reading of "Hamlet"
The Seen and the Unseen in: Tom Stoppard's "Rosencrantz and Guildenstern are Dead" as a Creative Reading of "Hamlet" ا و ا م رد " روز !ا و ن اد ا " آ&اءة إا " ه()" Prepared by: Kavita Jagtap Supervised by: Dr. Sabbar S. Sultan A Thesis Submitted in Partial Fulfillment of the Requirements for Master of Arts in English Language and Literature Department of English Language and Literature Faculty of Arts and Sciences Middle East University July, 2012 IV Acknowledgement All praise and thanks are due to Allah, the Almighty, for supporting me in this work. Without His support, grace and mercy, I would not have finished my thesis. I greatly appreciate the effort, dedication, and support of my advisor Dr. Sabbar S. Sultan. I thank him for his continuous guidance, support and help in completing this thesis. Finally, I would like to express my gratitude to the examining committee members and to the panel of experts for their invaluable inputs and encouragement. Thanks are also extended to the faculty members of the Department of English at the Middle East University. V Dedication I would like to dedicate this work to my father's soul, whose dream was for his children to gain as much knowledge and high degree of education as possible, to my beloved mother, my siblings, my son and my daughter who are a symbol of hope to me. I would specially like to dedicate this work to a very special person, Mohammad Jarrar. Finally, I would like to dedicate this work to every teacher who taught me, because they are distinguished in their specialities. -
'The New (Old) Play': Q1 Hamlet and the Texts Around
‘THE NEW (OLD) PLAY’: Q1 HAMLET AND THE TEXTS AROUND PERFORMANCE, 1980-2015 Scott Shepherd Royal Holloway, University of London PhD Thesis TABLE OF CONTENTS DECLARATION OF ACADEMIC INTEGRITY ................................................................4 ABSTRACT .............................................................................................................................5 ACKNOWLEDGEMENTS ....................................................................................................7 A NOTE ON TEXTS AND ABBREVIATIONS ....................................................................9 CHAPTER ONE WHAT WE TALK ABOUT WHEN WE TALK ABOUT HAMLET ................................11 Approaching the Archive .............................................................................................16 The First Quarto from 1825 to 1980: A Pre-History ....................................................23 The Origins of Q1: A Survey of Scholarship .................................................................35 Summary of the Argument and Outline of the Thesis ....................................................44 CHAPTER TWO: 1980-1989 THE MOST VALUABLE OF ALL SCHOLARLY ACTIVITIES ....................................50 RSC 1980: Reviewing Authenticity ...............................................................................58 Orange Tree 1985: Absolute Fidelity? .........................................................................66 RSC 1989: Common Sense, I Suppose ..........................................................................72 -
Behind the Scenes
behind the scenes Written by Sam Maynard Rehearsal photography by Manuel Harlan Production photography by Johan Persson CONTENTS BACKGROUNDPRODUCTIONRESOURCES Contents Introduction 3 Section 1: Background to Privacy 4 James Graham and PRIVACY 5 Verbatim Theatre 6 PRIVACY and Political Theatre 8 Edward Snowden, the NSA and GCHQ 9 Edward Snowden 9 The NSA revelations 10 What do these revelations mean? 12 Real people in PRIVACY 14 Section 2: The Donmar’s Production 17 Cast and Creative Team 18 Josh Seymour’s Rehearsal Diary 19 A conversation with James Graham 24 A conversation with Josie Rourke 29 Section 3: RESOURCES 33 A Glossary of Key Terms used in PRIVACY 34 Practical Exercise for use in the classroom 37 Select Bibliography and Suggestions for further reading 40 About the Donmar Warehouse 41 2 CONTENTS BACKGROUNDPRODUCTIONRESOURCES Introduction Welcome to the Behind the Scenes Guide to PRIVACY, a new play by James Graham. Over the following pages you will find a wealth of information designed to give you a closer look at the process of developing this production, from the original ideas to the final performance. PRIVACY is James Graham’s first play to be staged at the Donmar Warehouse, and tackles one of the most important issues of our time. Drawing on interviews with journalists, politicians, and analysts, PRIVACY asks how much we give away when we share, and whether there really is such a thing as privacy anymore. This guide aims to set this production in context through discussions with the cast and creative teams, through summaries of some of the key events referred to in the production, rehearsal diaries, and more. -
Connect with Us Want to Find out About Forthcoming Broadcasts?
Robert Fox, Matthew Byam Shaw for Playful Productions and Royal Court Theatre Productions present The Royal Court Theatre production of By Martin McDonagh Directed by Matthew Dunster About Hangmen About the Royal Court Theatre The year is 1965. In his small pub in the northern English town of The Royal Court Theatre is the writers’ theatre. For sixty years it has Oldham, Harry is something of a local celebrity. But what’s the second- been the leading force in world theatre for energetically cultivating best hangman in England to do on the day they’ve abolished hanging? writers – undiscovered, new, and established. Amongst the cub reporters and pub regulars dying to hear Harry’s Through the writers the Royal Court is at the forefront of creating restless, reaction to the news, his old assistant Syd and the peculiar Mooney alert, provocative theatre about now, inspiring audiences and influencing lurk with very different motives for their visit. future writers. Through the writers the Royal Court strives to constantly reinvent the theatre ecology, creating theatre for everyone. Over 120,000 Running time: 2 hrs 40 mins (including a 20-minute interval) people visit the Royal Court in Sloane Square, London, each year and Tonight’s performance is broadcast live from the many thousands more see our work elsewhere through transfers to the Wyndham’s Theatre in London’s West End. West End and New York, national and international tours, residencies across London and site-specific work. In 2016 the Royal Court is 60 Years New. This year work includes new plays by Caryl Churchill, Anna Jordan, Cast, in alphabetical order Mongiwekhaya, Alistair McDowall, David Ireland, Stef Smith, Charlene Hennessy JOSEF DAVIES James, Anthony Neilson, Nathaniel Martello-White and Suzan-Lori Parks. -
The Lady in the Van
BBC Films THE LADY IN THE VAN Directed by Nicholas Hytner Written by Alan Bennett from his memoir 103 min East Coast Publicity West Coast Publicity Distributor Springer Associates PR Block-Korenbrot Sony Pictures Classics Gary Springer Eric Osuna Carmelo Pirrone 1501 Broadway, Suite 506 6100 Wilshire Blvd., Ste 170 Maya Anand New York, NY 10036 Los Angeles, CA 90048 550 Madison Ave. 212-354-4660 tel 323-634-7001 tel New York, NY 10022 [email protected] 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax CREDITS CAST Maggie Smith MISS SHEPHERD Alex Jennings ALAN BENNETT Jim Broadbent UNDERWOOD Frances De La Tour MRS VAUGHAN WILLIAMS Roger Allam RUFUS DIRECTED BY Nicholas Hytner WRITTEN BY Alan Bennett from his memoir EXECUTIVE PRODUCERS Christine Langan, Ed Wethered, Charles Moore, Miles Ketley PRODUCERS Kevin Loader, Nicholas Hytner, Damian Jones DIRECTOR OF PHOTOGRAPHY Andrew Dunn PRODUCTION DESIGNER John Beard EDITOR Tariq Anwar COMPOSER George Fenton COSTUME DESIGNER Natalie Ward HAIR AND MAKE UP DESIGNER Naomi Donne CASTING DIRECTOR Toby Whale SYNOPSIS Alan Bennett’s story is based on the true story of Miss Shepherd (played by a magnificent Maggie Smith), a woman of uncertain origins who “temporarily” parked her van in Bennett’s London driveway and proceeded to live there for 15 years. What begins as a begrudged favor becomes a relationship that will change both their lives. Filmed on the street and in the house where Bennett and Miss Shepherd lived all those years, acclaimed director Nicholas Hytner reunites with iconic writer Alan Bennett (The Madness of King George, The History Boys) to bring this rare and touching portrait to the screen.