DOCSLIB.ORG

Rosencrantz & Guildenstern Are Dead

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rosencrantz & Guildenstern Are Dead ROSENCRANTZ & GUILDENSTERN ARE DEAD TEACHING RESOURCES F E B 2 017–APR 2017 CONTENTS Company 3 Old Vic Education The Old Vic The Cut Creative team 5 London SE1 8NB Characters 7 E [email protected] @oldvictheatre Synopsis 9 © The Old Vic, 2017 All information is correct at the Themes 13 time of going to press, but may be subject to change Timeline: A brief history of Rosencrantz & Guildenstern 15 Teaching resources Are Dead Written by Anne Langford Design Alexander Parsonage & Matt Lane-Dixon Rehearsal room diary by Jason Lawson, Assistant Director 17 Rehearsal and production photography Manuel Harlan An interview with Anna Fleischle, Set and Costume Designer 19 Old Vic New Voices and Loren Elstein, Costume Designer and Associate Set Hannah Fosker Designer Education & Community Manager Liz Bate Education Manager An interview with Daniel Radcliffe and Joshua McGuire 23 Richard Knowles Stage Business Co-ordinator Shakespeare re-purposed: An exploration of the relationship 25 Poppy Walker Old Vic New Voices Intern between Rosencrantz & Guildenstern Are Dead and Hamlet Further details of this production Practical Exercises 28 oldvictheatre.com A day in the life of…Michael Peers, Digital Manager 33 Bibliography and further reading 34 The Old Vic Rosencrantz & Guildenstern Are Dead teaching resources 2 COMPANY HERMEILIO MIGUEL AQUINO MATTHEW DURKAN Courtier, u/s Polonius/Claudius Alfred, u/s Rosencrantz Theatre: Well (West End); One Night in Miami (Donmar); Theatre: Nell Gwynn (West End); The History Boys (UK Early Doors (Lowry/UK tour); A Midsummer Night’s tour); The Lion, the Witch and the Wardrobe (Sherman Dream (Hive Theatre, Off Broadway); The Tempest Theatre). Short film:Dog . TV: #HoodDocumentary. (First Folio Shakespeare Theatre Festival Chicago); Snow Angels (Lincoln Center/Here Theatre). Short TIM VAN EYKEN film:Four Nine. TV: Doctor Who, Blue Bloods, Player, u/s Guildenstern Boardwalk Empire. Theatre: Shakespeare in Love (West End); The Little Match Girl (Sadler’s Wells); Easter Rising, Thereafter LOUISA BEADEL (Jermyn Street); Birdsong (UK tour); War Horse Player, u/s Player swing (National Theatre/West End); NT: 50 Years on Stage Theatre: Future Conditional (The Old Vic); Dick (National Theatre); The Ballad of Little Musgrave Whittington (Key Theatre); The Wind in the Willows (Aldeburgh Music); Ballroom of Joys and Sorrows (Mercury Theatre); La Lune (LAS Theatre/Wild Rumpus); (Watford Palace); Good (Royal Exchange Manchester); Three Sisters (Etch Theatre); Robin Hood & The Long Goodbye (Hampstead). Film: The Imitation the Babes in the Wood, Dick Whittington (City Varieties Game. TV: Foyle’s War. Radio: From Dots to Download, Music Hall); The Sunset Five (Pleasance London); Vital Mental Medicine, The Loving Ballad of Captain Wolf’s Child (Felbrigg Hall Norfolk); The Blonde Bateman, The Night Visiting. Awards include BBC Folk Bombshells of 1943 (Upstairs at the Gatehouse); Tory Award 2007 for Best Traditional Track and BBC Audio Boyz, Prince of Denmark, Romeo and Juliet (National Drama Award 2014 for Best Radio Drama Script by a Youth Theatre Rep at the Ambassadors); Contractions new writer. (Bikeshed Theatre); Othello (Edinburgh Fringe). DAVID HAIG WILLIAM CHUBB The Player Polonius Theatre: Blue/Orange (Young Vic); Guys and Dolls Theatre: King Lear (The Old Vic); Waste, Great Britain, (West End); Someone Who’ll Watch Over Me, Pressure Othello, Scenes From an Execution, The History Boys (Chichester); The Madness of George III, Yes Prime (National Theatre); The Sea, Whose Life Is It Anyway?, Minister, Mary Poppins, Joumey’s End, Donkey’s Years, You Never Can Tell (West End); In the Depths of Dead Hitchcock Blonde (all West End); Our Country’s Good Love (Print Room); Lawrence After Arabia (Hampstead); - Olivier Award, Best Actor (Royal Court); Art (West Richard II (Shakespeare’s Globe); Yes, Prime Minister End and Broadway). TV: Witness for the Prosecution, (Chichester/West End). TV: Close to the Enemy, Penny Dreadful, The Thick of lt, Mo, My Boy Jack, Jonathan Strange and Mr Norrell, Silk. Film: 6 Days, Talking Heads, The Thin Blue Line. Film: Florence Foster Adrift in Soho, Veer, Milk. Jenkins, Four Weddings and a Funeral. Writing: My Boy Jack, The Good Samaritan, (Hampstead Theatre); JOSIE DUNN Pressure (Chichester and Edinburgh); My Boy Jack- Player, u/s The Player/Gertrude FIPA Award, Best Screenplay (lTV / Ecosse Films). Theatre: Backbeat (West End/Toronto/ Los Angeles); Desert Rats (West End); Snow White WIL JOHNSON and other Tales from the Brothers Grimm, Summer of Claudius Shakespeare (Creation Theatre); After Orlando (Theatre Theatre: Fuente Ovejuna (National Theatre); Redundant Royal Stratford East/The Vaults); Here Be Monsters (UK (Royal Court); A Mad World My Masters (Shakespeare’s tour); Alice in Wonderland (Watermill Newbury); Dark Globe); A Wolf in Snakeskin Shoes (Tricycle); Torn Tourism (Park Theatre); James and the Giant Peach (Arcola); King Lear (Royal Exchange Manchester); (Colchester Mercury); The Story Giant (Shanty Theatre Serious Money (Birmingham Rep); Pow! (Paines Company); Occupied (Theatre 503); Faust (Greenwich). Plough); The Queen and I (Out of Joint); The Swallowing TV: Doctors, Playhouse Presents: Hey Diddly Dee. Dark (Liverpool Playhouse). Film: Macbeth, Adulthood, Dead End, In a Better World, Babymother, Anuvahood, Pimp. TV: Outlander, The Five, Lewis, Hollyoaks, Hetty Feather, Moving On, Emmerdale, Waking the Dead, Clocking Off, Babyfather, Cracker, Holby City, Waterloo Road, Buried Treasure, A Midsummer Night’s Dream. The Old Vic Rosencrantz & Guildenstern Are Dead teaching resources 3 JOSHUA McGUIRE Fathers/Platonov, Uncle Vanya (Arcola); The Girl in the Guildenstern Yellow Dress (Market Theatre Johannesburg/international Theatre: Future Conditional (The Old Vic); The Ruling tour); An Inspector Calls (West End); Troilus and Class (West End); Posh (Royal Court/West End); Cressida (Cheek by Jowl); You Can Still Make a Killing Amadeus (Chichester); Privacy (Donmar); The Magistrate (Southwark Playhouse); The Real Thing, The Changeling (National Theatre); Hamlet (Globe/international tour); (ETT); Persuasion, Design for Living (Salisbury Hay Fever (Rose Kingston). Film: The Happy Prince, Mine, Playhouse); The Years Between (Royal & Derngate); Mad Old Boys, Get Santa, Cinderella, Mr Turner, About Time. Forest, JMK (BAC); Present Laughter (Theatre Royal TV: Lovesick: Series 1 & 2, Love Nina, Siblings: Series Bath/tour). TV: The Living and the Dead, Life in Squares, 1 & 2, You, Me & Them: Series 1 & 2, A Young Doctor’s The Musketeers: Series 2, The Crimson Field, WPC 56, Notebook: Series 1, The Hour: Series 1 & 2, Misfits. Foyles War. Film: Finding Your Feet, Absolutely Anything. LUKE MULLINS EVLYNE OYEDOKUN Hamlet Player, u/s Ophelia Theatre: Waiting for Godot (Sydney Theatre Company/ Theatre: Sapriya, E15 (Lung Theatre); Mya, Bricks and Barbican); The Glass Menagerie (Belvoir St/Malthouse Pieces (Latitude Festival); Ash (Park Theatre). Evlyne Theatres Sydney); Angels in America, Small and Tired, graduated from RADA in 2016. Death of a Salesman (Belvoir St Theatre); Night on Bald Mountain (Malthouse Theatre); Endgame, The History DANIEL RADCLIFFE Boys, Cloud 9 (Melbourne Theatre Company); Little Rosencrantz Mercy, Long Days Journey into Night, Citizens, Gallipoli, Theatre: Privacy (Broadway); The Cripple of Inishmaan, Soldiers, The Season at Sarsaparilla (Sydney Theatre Equus (West End/Broadway); How to Succeed in Company); The War of the Roses (Sydney Festival/Perth Business Without Really Trying (Broadway). Film: Now International Arts Festival); The Eisteddfod (New York You See Me 2, Swiss Army Man, Imperium, Horns, What Fringe Festival). Film: Holding the Man, The Wilding, If, Kill Your Darlings, The Woman in Black and the eight Neon Skin. TV: New Blood, Reef Doctors, Satisfaction, Harry Potter films. TV:The Gamechangers, A Young Blue Heelers, Medical Defence Australia. Doctor’s Notebook: Series 1 & 2, Extras and voice work in The Simpsons, Robot Chicken and BoJack Horseman. THEO OGUNDIPE Horatio/Soldier ALEX SAWYER Theatre: Julius Caesar (RSC/West End/Broadway); Player, u/s Hamlet/Horatio/Alfred Cymbeline, King Lear, Hamlet, Marat/Sade, A Theatre: Alice in Wonderland (Octagon Theatre Bolton); Midsummer Night’s Dream (RSC); Brave New World Oliver! (Epsom Playhouse). Film: Fox Trap, Macbeth, (Royal & Derngate); The Tempest (Singapore Repertory The Touchstone of RA. TV: The White Princess, Father Theatre); Ragnarok (Eastern Angles); Drive, Ride, Walk Brown, Biopic: Michael Jackson, Eve, Biopic: Prince, (Filament Theatre); Snow Queen (Stephen Joseph Lost in the West, House of Anubis. Theatre Scarborough); Labour Exchange (South Street Theatre); Twelfth Night, Henry V (Orange Tree Richmond). HELENA WILSON Film: Julius Caesar, Stud Life. TV: Doctors, Eastenders. Ophelia Helena graduated from Oxford University in 2016. This is MARIANNE OLDHAM her professional theatre debut. Theatre while at Oxford: Gertrude The Alchemist (Arcola/Edinburgh Fringe); West Side Theatre: The Argument (Hampstead); The Boy in the Story (Oxford Playhouse); Romeo and Juliet (Southwark Striped Pyjamas (Chichester/UK tour); Sons Without Playhouse/Tokyo Metropolitan Theatre). The Old Vic Rosencrantz & Guildenstern Are Dead teaching resources 4 CREATIVE TEAM TOM STOPPARD HOWARD HARRISON Writer Lighting Designer Plays: The Hard Problem, The Real Inspector Hound, Theatre: The Playboy of the Western World, Inherit the After Magritte, Jumpers, Travesties, Every Good Boy Wind, Complicit (The Old Vic); The Truth,
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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,
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • '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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]