A Panel Discussion of Freud's Last Session
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Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
The Performance of Gender with Particular Reference to the Plays of Shakespeare
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dixon, Luke (1998) The performance of gender with particular reference to the plays of Shakespeare. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/6384/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
'NINE' - the "'Ultimate" Musical for Melbourne
JUNE.JULY,1987, Vol12 No 3 ISSN 0314 -3058 A publication of the Australian Elizabethan Theatre Trust 'NINE' - The "'Ultimate" Musical for Melbourne 'NINE' by Arthur Kopit Music and lyrics by Maury Yeston Directed by fohn Diedrich Musical Director Conrad Helfrich Choreography and Staging by fo·anne Robinson and Tony Bartuccio Cast includes fohn Diedrich, Nancy Hayes, Peta Toppano, Maria Mercedes Comedy Theatre "NINE is a true original ... a marvellous musical ... theatrically and visually NINE is a stunner ... combining outrageous pizzazz with chic and good taste. It is magic ... you must see NINE" Clive Barnes, New York Post he winner of five Tony Awards on T Broadway, including Best Musical of 1~82, the Australian premiere of 'NINE' i~ coming to Melbourne. Billed as "the Ultimate Musical', 'NINE' is the culmination of a dream for John Deid rich who has assembled an amllzing array of Australian talent for this most highly praised musical. 'NINE' is based on Fellini's classIc flim "81f2" which tells the story of an Italian film director, Guido Contini and his search for happiness, honesty and love amongst the twenty-one women in his life. As well as directing the production John Diedrich plays the leading role of Contini, his first musical appearance since playing Curly in 'OKLAHOMA!'. Joining him on stage are twenty-one of Australia's most beautiful and talented actresses including Nancye Hayes, Maria Mercedes, Peta Toppano and Caroline Gillmer. This Australian pro BOOKING INFORMATION duction will have a new set designed by Commences Saturday July 11 Shaun Gurton and costumes by Roger Mon to Sat 8.00pm Wed and Sat matinees at 2.00pm Kirk with original choreography and AETI Mon , Tues $30 staging by Jo-anne Robinson (of Wed, Thurs $33 'CATS') and Tony Bartuccio. -
Theatre Archive Project: Interview with Timothy West
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Timothy West – interview transcript Interviewer: Catherine Jones 5 January 2004 Actor, born 1934, on his recollections of theatre, 1945-68. CJ: In your autobiography, A Moment Towards the End of the Play, you have noted that from a young age you viewed a play every week by the Rapier Players at The Little Theatre, Bristol. Can you tell me what plays you saw and your initial impressions of them? TW: Well, it's very difficult to remember when I was very sort of….eight or nine at the time, but they were generally plays that had been done in the West End and were then…when they had finished their run in the West End, were available for production purposes by repertory. And, there were new plays by a lot of writers whose names we wouldn't remember now at all. But, there were of course Noel Coward and Terrence Rattigan and - probably not Terrence Rattigan at that time, I think that was a little later, - but they were mostly light comedies and a lot of thrillers, a great many thrillers, and a lot of adaptations of Agatha Christie and people, but mixed with the occasional classic. And they did plays by Shaw and the occasional Shakespeare, the occasional Chekhov, the occasional Ibsen, the occasional Moliere. There would be Irish plays, [such as] O'Casey. [It is a] pity they ever did O'Neill (a bit long), but it was a sort of general mix of stuff which you didn't see so much in the larger touring theatre, (the Hippodrome in Bristol), because that was given over mostly to opera, to ballet, musical theatre and the occasional big tour by the classical companies, (which in those days were the Old Vic Company or the Stratford upon Avon Company, which was not then called the Royal Shakespeare Company). -
The Performance of Gender with Particular Reference to the Plays Of
The Performance of Gender with particular reference to the plays of Shakespeare A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Luke Dixon School of Drama and Theatre Arts Middlesex University April 1998 MX 7309012 3 IIIýýWII IIIIIXVýýýwýýllllýý ABSTRACT An analytical history of the representation of gender on the English stage from Shakespeare to modern times is followed by a detailed examination of the National Theatre of Great Britain's production of `As You Like It' in 1967, the first production of a play by Shakespeare for over three hundred years in which the female parts were played by male actors. Subsequent cross-cast productions of Shakespeare's plays by Glasgow Citizen's Theatre, Prospect theatre Company, Lindsay Kemp, Theatre du Soleil and Goodman Theatre Chicago are discussed and the views of directors and critics of those productions analysed. The thesis then presents the results of a series of workshops with actors into the playing of gender and examines, by means of an experiment employing Gender Schema Theory, how actors construct gender in a production of `Twelfth Night'. The final part of the thesis describes a controlled experiment into audience perception of gender using a scene from `Hamlet'. Theories are presented about the nature of the performance of gender on stage and the use of theatrical conventions, the relationship between social conventions and stage conventions, about the way in which an actor builds a character, the influence of biological sex on actors' creativity, and about audience perception. TABLE OF CONTENTS Chapter I Contexts, methodology, terminology. -
Aladdin2005.Pdf
a new version by Bille Brown Director Sean Mathias original score by Gareth Valentine Designer John Napier additional song 'I Believe in You' Choreographer Wayne McGregor music by Elton John & lyrics by Lee Hall Musical Supervisor Gareth Valentine Costumes Mark Bouman Producer David Liddiment Lighting David Hersey Executive Producer Colin Ingram Casting Director Jill Green CDG Sound Fergus O'Hare Production Manager Dominic Fraser Orchestrations Chris Walker Assistant Director Paul Warwick Griffin Assistant Choreographer Laila Diallo Musical Director Kevin Amos Additional script Paul Alexander Designs inspired bythe drawings of Flo Perry First performance at The Old Vic Wednesday 7 December 2005 CARST in ORDER F OR LADD IN 0F AP FE ARANC Am Abbanazar Roger Allam Company Manager (OVTQ Jane Semark Aladdin Neil McDermott Stage Manager Simon Ash Hanky Matthew Wolfenden Deputy Slage Manager Nicole Keighley Panky Andrew Spillett Assistant Stage Managers Martha Mamo Dim Sum Frances Barber Sarah Winborn WidowTwankey Ian McKellen Costume Supervisor Tracey Stiles Princess Kate Gillespie Head of Wardrobe (OVTQ Fiona Lehmann Emperor Paul Grunert Deputy Head of Wardrobe (OVTQ Louise Askins Genie Tee Jaye Wigs Supervisor Joanna Taylor Ensemble Marina Abdeen Head of Wigs Rick Strickland Madalena Alberto Deputy I lead of Wigs Emma Sharp Gary Amers Properties Supervisor Tracey Clarke Alistair David Head of Lighting (OVTC) Stuart Crane Steve Fortune Deputy Head of Lighting (OVTQ Andrew Taylor Emma Harris Head of Stage (OVTQ PJ Holloway Victoria Hinde Deputy -
Australia's Magazine of the Performing Arts 3(12) July 1979 Robert Page Editor
University of Wollongong Research Online Theatre Australia 7-1979 Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979 Robert Page Editor Lucy Wagner Editor Follow this and additional works at: http://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert and Wagner, Lucy, (1979), Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979, Theatre Publications Ltd., New Lambton Heights, 50p. http://ro.uow.edu.au/theatreaustralia/32 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 3(12) July 1979 Description Contents: Comment Quotes and Queries Whispers, Rumours and Facts Letters Guide — Theatre, Opera, Dance Richard Wherrett — nI terviewed by Rex Cramphorn Glynne — The am n behind the G &S tour — Raymond Stanley 1979 National Playwrights’ Conference — Douglas Flintoff alcF on Island — Terry Owen Children’s Theatre: Theatre in Education — Ardyne Reid Come Out 79 — Andrew Bleby Flying Fruit Fly Circus — Iain McCalman Children's Theatre in America — Christine Westwood Big Business and the Arts Part 1 — TA Enquiry Writer’s View: Clem Gorman A Sense of Insecurity — Ken Longworth Proliferation of Secret Britain Plays — Irving Wardle Let’s Make; Secret Marriage; D'Oyly Carte — David Gyger Coppelia — William Shoubridge The Queensland Ballet's Autumn Season — Deborah Reynolds ACT Losers — Solrun Hoaas NSW The -
Trust News February 1979 Volume 3 Number 1
ISSN 0314-0598 FEBRUARY 1979 VOLUME 3 NUMBER 1 Two Tickets for the Price of One ... AND NOW COUNT BASIE We are delighted to be able to offer Members the opportunity to purchase as many tickets as they wish at half price for performances on Monday rch 26th and Tuesday March 27th. Following tile performance on Monday March 26th there will be a supper party in the theatre foyer for Members and their friends. Post theatre supper Following the highly successful tours parties are proving very popular with of Oscar Peterson and Ella Fitzgerald Members. It is a very pleasant way to the Trust is delighted to be able to round off a night at the theatre. announce the forthcoming national Those Members who are unable to tour by Count Basie and his Orchestra. attend on March 26th or 27th will Basie has been described as the most DEATHTRAP receive the normal $1.00 concession explosive force in jazz and certainly on two tickets at all other perform his distinctive big band sound has ances. Your Trust Member preferential been instantly recognizable for well Ira Levin who wrote ROSEMARY'S booking coupon is enclosed with a over a quarter of a century. BABY and THE BOYS FROM BRAZIL separ.ate application form for supper The Basie Band began in 1935 when is the author of DEATHTRAP, a comedy tickets. Bill Basie took over the Bennie Moten thriller which is currently one of the Orchestra in Kansas City following biggest hits on Broadway. It has re . Bennie's death. At that stage it was a cently opened in London to similar ten-piece band but encouraged by the acclaim. -
Literature Review
The impact of the counterculture on Australian cinema in the mid to late 20th century A thesis submitted in partial fulfillment of the requirement for the degree of Master of Art Administration (Hons) within the School of Art History and Art Education, College of Fine Arts, University of New South Wales, Sydney, Australia. Fiona Hooton 1 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hooton First name: Fiona Other name/s: Abbreviation for degree as given in the University calendar: School: School of Art History and Art Education Faculty:COFA Title: The impact of the counterculture on Australian cinema in the mid to late 20th century 2 Abstract 350 words maximum: (PLEASE TYPE) This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. -
New Fair Lady
MAY, 1988 Vol 12 No 4 ISSN 0314 - 0598 Including Annual Report 1987 and Notice of Annual General Meeting A publication of the Australian Elizabethan Theatre Trust Madge Ryan, Noel Ferrier and Helen Buday in the VOC production of MY FAIR LADY New Fair Lady - Revival of a Classic MY FAIR LADY MY FAIR LADY has all a musical Trust Members should note that Book and lyrics by Alan Jay Lerner should - breathtaking sets, lavish cos special concession prices apply only to Music by Frederick Loewe tumes, wonderful music and an all-star the first four weeks ' of the season. We Directed by Rodney Fisher cast. It features a twenty-piece orches regret the lateness in announcing this Cast: John Waters, Noel Ferrier, Simon tra conducted by Andrew Greene, who show as a result of protracted nego Gallaher, June Bronhill, Helen Buday is also the musical director, and a cast tiations with the producers for accept of forty, including some of Australia's able arrangements for Trust Members. ho hasn't read or at least heard of As a result, we do advise Members that George Bernard Shaw's most talented performers. Helen W Buday, who performed in MAD MAX they will obtain the best seats if they "Pygmalion" - the classic tale of a order tickets during the two weeks from Cockney flower seller who became a III and FOR LOVE ALONE, will play Eliza and Noel Ferrier, who has had a June 6-18. See Member Activities (p. 5) "lady". Now a new production by Vic for pre-theatre dinner on Wednesday, toria State Opera, fresh from a most distinguished career in the theatre and successful season in Melbourne, comes in films, will play Alfred P. -
Theatre Australia
University of Wollongong Research Online Theatre Australia 4-1979 Theatre Australia: Australia's magazine of the performing arts 3(9) April 1979 Robert Page Editor Lucy Wagner Editor Follow this and additional works at: http://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert and Wagner, Lucy, (1979), Theatre Australia: Australia's magazine of the performing arts 3(9) April 1979, Theatre Publications Ltd., New Lambton Heights, 58p. http://ro.uow.edu.au/theatreaustralia/29 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 3(9) April 1979 Description Contents: Departments: 2 Comment 3 Quotes and Queries 5 Whispers, Rumours and Facts 6 Noises Off 12 Letters 54 Guide — Theatre, Opera, Dance Spotlight: 7 The Annual Meet — Ron Blair 8 Playwrights’ Conference — from Strength to Strength — Mick Rodger 9 Stoppard — Collin O’Brien 10 Troupe — Guthrie Worby 11 Prospect’s Grand Tour — An interview with Theatre Australia Features: 13 Reg Livermore’s Singular Burlesques — Peter Batey, Director 16 Dorothy Hewett — Kristin Green 19 Emerald Hill Theatre — Raymond Stanley 39 Children’s Theatre: PipiStorm Children’s Circus — Murray Oliver 41 Writer’s View: John Romeril International: 47 Focus on Finland — Jacqueline Mulhallen Opera: 49 Improved revivals; Don, Merry Widow, Mastersingers, and G and S David Gyger Dance: 43 Dance Extra: Graeme Murphy on Rumours, William -
Year Play Author Director Cast Venue Dates Aust Premiere 1960 the Man Dinelli, Mel Hayes Gordon Lorraine Bayly, Kevin Dalton, Jo
Year Play Author Director Cast Venue Dates Aust Premiere 1960 The Man Dinelli, Mel Hayes Gordon Lorraine Bayly, Kevin Dalton, Jon Ewing, ENS 7/1/60-19/3/60 AP Guinea Gordon, Clarissa Kaye, Don Newland, Don Reid, Kylie Stewart, Anthony Wickert 1960 Orpheus Williams, Hayes Gordon David Crocker, Kevin Dalton, Gary ENS 31/3/60-2/7/60 AP Descending Tennesee Deacon, Jon Ewing, Lisle Harsant, Patricia Johnson, Patricia Jones, Clarissa Kaye, Sophie Krantz, Robin Lawlor, Reg Livermore, Marie Lorraine, Jerry Luke, Beverley McLeod, Frank Nolan, Jack Quinlan, Don Reid, Gary Shearston, Breck Stewart, Kylie Stewart, Sandra Stewart 1960 The Drunkard Smith, W H Hayes Gordon Victoria Anoux, Lorraine Bayly, Anna 23/7/60-4/2/61 AP Berner, J. Brown, L. Celi, Roie Cook, Kevin Dalton, Gary Deacon, John Denison, Jon Ewing, Joanna Franklin, Patricia Johnson, Patricia Jones, J.J., Judy King, Robin Lawlor, Reg Livermore, Jerry Luke, Ron Owen, William Pringle, James Scullin, Gary Shearston, Breck Stewart, Kylie Stewart, Sandra Stewart, Brian Young 1961 The Double Congreve, William Jon Ewing & Reg Victoria Anoux, Kevin Dalton, Jon Ewing, ENS 7/2/61-4/3/61 AP Dealer Livermore Mr. Henning, Patricia Johnson, Patricia Jones, Jan Kehoe, Reg Livermore, William Pringle, Les Shaw, Breck Stewart, Bryan Syron, Tony Wickert, Brian Young 1961 Miss Lonely Teichman, Howard Hayes Gordon Jan Avery, Henry Banister, Lorraine ENS 15/3/61-17/6/61 AP Hearts Bayly, Julie Collins, Roie Cook, John Dennis, Bettye Eister, Joan Franklin, Jone Hull, J.J., Patricia Jones, Reg Livermore, Anne