Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
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Didactic Fragmentation in ''Scenes from the Big Picture'
Didactic Fragmentation in ”Scenes from the Big Picture” (2003) by Owen McCafferty Virginie Privas-Bréauté To cite this version: Virginie Privas-Bréauté. Didactic Fragmentation in ”Scenes from the Big Picture” (2003) by Owen McCafferty. 2012. halshs-01071477 HAL Id: halshs-01071477 https://halshs.archives-ouvertes.fr/halshs-01071477 Preprint submitted on 5 Oct 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. !1 Didactic Fragmentation in Scenes from the Big Picture (2003) by Owen McCafferty Virginie Privas-Bréauté Université Jean Moulin - Lyon 3 Brecht’s dramatic theory helps demonstrate that the contours of contemporary Northern Irish drama have been reshaped. In this respect, Owen McCafferty’s play Scenes from the Big Picture has Neo-Brechtian resonances. The audience is presented with frag- ments of lives of people, bits and pieces of a whole picture. This play exemplifies Brecht’s idea of a didactic play in so far as the audience is called to learn about the Northern Irish Troubles from the play through the device of fragmentation: the uneven background of McCafferty’s play – i.e. the Troubles – is peopled with traumatised indi- viduals, proportionally fragmented. -
OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May
Click Here for More Articles on 2017 AWARDS SEASON OSLO Big Winner at the 2017 Lucille Lortel Awards, Full List! by BWW News Desk May. 7, 2017 Tweet Share The Lortel Awards were presented May 7, 2017 at NYU Skirball Center beginning at 7:00 PM EST. This year's event was hosted by actor and comedian, Taran Killam, and once again served as a benefit for The Actors Fund. Leading the nominations this year with 7 each are the new musical, Hadestown - a folk opera produced by New York Theatre Workshop - and Sweeney Todd: The Demon Barber of Fleet Street, currently at the Barrow Street Theatre, which has been converted into a pie shop for the intimate staging. In the category of plays, both Paula Vogel's Indecent and J.T. Rogers' Oslo, current Broadway transfers, earned a total of 4 nominations, including for Outstanding Play. Playwrights Horizons' A Life also earned 4 total nominations, including for star David Hyde Pierce and director Anne Kauffman, earning her 4th career Lortel Award nomination; as did MCC Theater's YEN, including one for recent Academy Award nominee Lucas Hedges for Outstanding Lead Actor. Lighting Designer Ben Stanton earned a nomination for the fifth consecutive year - and his seventh career nomination, including a win in 2011 - for his work on YEN. Check below for live updates from the ceremony. Winners will be marked: **Winner** Outstanding Play Indecent Produced by Vineyard Theatre in association with La Jolla Playhouse and Yale Repertory Theatre Written by Paula Vogel, Created by Paula Vogel & Rebecca Taichman Oslo **Winner** Produced by Lincoln Center Theater Written by J.T. -
The Theatre of the Real Yeats, Beckett, and Sondheim
The Theatre of the Real MMackenzie_final4print.indbackenzie_final4print.indb i 99/16/2008/16/2008 55:40:32:40:32 PPMM MMackenzie_final4print.indbackenzie_final4print.indb iiii 99/16/2008/16/2008 55:40:50:40:50 PPMM The Theatre of the Real Yeats, Beckett, and Sondheim G INA MASUCCI MACK ENZIE THE OHIO STATE UNIVERSITY PRESS • COLUMBUS MMackenzie_final4print.indbackenzie_final4print.indb iiiiii 99/16/2008/16/2008 55:40:50:40:50 PPMM Copyright © 2008 by Th e Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data MacKenzie, Gina Masucci. Th e theatre of the real : Yeats, Beckett, and Sondheim / Gina Masucci MacKenzie. p. cm. Includes bibliographical references and index. ISBN 978–0–8142–1096–3 (cloth : alk. paper)—ISBN 978–0–8142–9176–4 (cd-rom) 1. English drama—Irish authors—History and criticism—Th eory, etc. 2. Yeats, W. B. (William Butler), 1865–1939—Dramatic works. 3. Beckett, Samuel, 1906–1989—Dramatic works. 4. Sondheim, Stephen—Criticism and interpretation. 5. Th eater—United States—History— 20th century. 6. Th eater—Great Britain—History—20th century. 7. Ireland—Intellectual life—20th century. 8. United States—Intellectual life—20th century. I. Title. PR8789.M35 2008 822.009—dc22 2008024450 Th is book is available in the following editions: Cloth (ISBN 978–0–8142–1096–3) CD-ROM (ISBN 978–0–8142–9176–4) Cover design by Jason Moore. Text design by Jennifer Forsythe. Typeset in Adobe Minion Pro. Printed by Th omson-Shore, Inc. Th e paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. -
Shakespeare in Love
FEB Shakespeare 26 MAR in Love 29 Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Alex Bechtel Directed by Matt Pfeiffer Welcome to Shakespeare in Love. Every year, many of you cry out to us “Dear God, no more Shakespeare!” While others plead “I loved your Winter’s Tale, your Richard III. Please put on Midsummer. I beg you for a Twelfth Night.” With Shakespeare In Love, the Purists and the Never Barders may unite to curse us with a plague on both our houses, but if they — and you — are someone who loves love, well then . Here is a love letter to romantic love, to the theatre, and to the rebellious, transgressive, mysterious, and glorious madness of both. Whether you keep Shakespeare close to your heart or far from it, we invite you to celebrate what he loved most: the stage, its players, poetry . and a dog. Zak Berkman, Producing Director Lend me your ears Matt Pfeiffer, Director I’ve been really blessed to spend most of my career working on the plays of William Shakespeare. I believe his plays are foundational to Western culture. Love him or hate him, his infuence is an essential part of our understanding of stories and storytelling. And I’ve had the privilege for the last six years of fostering a specifc approach to his plays. I found that attempting to be in conversation with the principals of the theatre practices of Shakespeare’s time was a good starting place—not so much aesthetically, but logistically. -
Year 10 Term 1: Component 1 Devising Theatre
Year 10 Term 1: Component 1 Devising theatre Devising techniques As part of Eduqas GCSE Drama you are required to: Devising – A method of theatre- making in which the • devise an original 10- 15 minute performance from script originates from a performing ensemble (team) a stimuli working collaboratively. • A written 750-900 word portfolio explaining the Naturalistic Improvisation - When an actor performs research, and development of the devising process. a character as if they are a real person • An evaluation, explaining your successful and with real memories and beliefs. This requires unsuccessful aspect of the performance. Empathy (when an actor puts themselves in the character’s shoes). The devised piece must be in the style of a chosen Mime -Suggesting action, character or emotion practitioner. without words, using gesture, expression and movement. Last years exam paper: Monologue – When the character is speaking 1. A statement ‘The Promise’ his/her thoughts aloud, directly addressing another 2. A song ‘7 Years’ by Lukas character or the audience. Graham Stimulus – A recourse which inspires ideas for 3. A quote ‘Sometimes I can creating drama. feel my bones straining Painting under the weight of all the A book lives I’m not living’ Jonathan Safran Foer (Extremely Loud and Quote Incredibly Close). 4. An Image Song Lyrics Year 10 Term 1: Component 1 Devising Theatre Research- Explore each stimuli, finding out all the A sequence in a chronological order fact around it. including a beginning, middle and end. Map ideas – Write all your initial ideas on a mind map. Discuss – Share your ideas with your group and decide on a final idea. -
Drama Book Shop Became an Independent Store in 1923
SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD I N P R O U D COLLABORATION WIT H THE NATIONAL ARTS CLUB THE PLAYERS, NEW YORK CITY THE ENGLISH-SPEAKING UNION SALUTING A UNIQUE INSTITUTION ♦ Monday, November 26 Founded in 1917 by the Drama League, the Drama Book Shop became an independent store in 1923. Since 2001 it has been located on West 40th Street, where it provides a variety of services to the actors, directors, producers, and other theatre professionals who work both on and off Broadway. Many of its employees THE PLAYERS are young performers, and a number of them take part in 16 Gramercy Park South events at the Shop’s lovely black-box auditorium. In 2011 Manhattan the store was recognized by a Tony Award for Excellence RECEPTION 6:30, PANEL 7:00 in the Theatre . Not surprisingly, its beneficiaries (among them Admission Free playwrights Eric Bogosian, Moises Kaufman, Lin-Manuel Reservations Requested Miranda, Lynn Nottage, and Theresa Rebeck), have responded with alarm to reports that high rents may force the Shop to relocate or close. Sharing that concern, we joined The Players and such notables as actors Jim Dale, Jeffrey Hardy, and Peter Maloney, and writer Adam Gopnik to rally support for a cultural treasure. DAKIN MATTHEWS ♦ Monday, January 28 We look forward to a special evening with DAKIN MATTHEWS, a versatile artist who is now appearing in Aaron Sorkin’s acclaimed Broadway dramatization of To Kill a Mockingbird. In 2015 Dakin portrayed Churchill, opposite Helen Mirren’s Queen Elizabeth II, in the NATIONAL ARTS CLUB Broadway transfer of The Audience. -
Speaking Flyer for February 2013
SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD IN COLLABORATION WITH THE NATIONAL ARTS CLUB AND EDWIN BOOTH’S CLUB THE PLAYERS, NEW YORK CITY PAUL DICKSON Monday, February 25 How many of our familiar words and phrases originated in the White House? What lexicographer PAUL DICKSON has to report will astonish you. Acclaimed for his authoritative BASEBALL DICTIONARY, now in its third edition, Mr. Dickson has also treated us to THE NATIONAL ARTS CLUB CONGRESS DICTIONARY: The Ways and Meanings of Capitol Hill , JOURNALESE: A Dictionary for Deciphering 15 Gramercy Park South Manhattan the News, LABELS FOR LOCALS: What to Call People from Abilene to Zimbabwe, and DRUNK: The Definitive Drinker’s Program 7:30 p.m. Dictionary. An former editor for Merriam-Webster publi- Reservations Requested cations, Mr. Dickson has appeared frequently on All Things Considered and other NPR programs, and he was an occasional contributor to the late William Safire’s popular “On Language” column for The New York Times Magazine. Copies of WORDS FROM THE WHITE HOUSE will be on hand for purchase and inscription following Mr. Dickson’s interview with John Andrews. THOMAS KEITH Tuesday, March 26 This date marks the 102nd birthday of a playwright whose evocative dialogue has been compared to that of such immortals as Chekhov and Shakespeare. Thomas Lanier “Tennessee” Williams (1911-83) enriched our repertory not only with Cat on a Hot Tin Roof, which is once again riveting Broadway audiences, NATIONAL ARTS CLUB but with classics like A Streetcar Named Desire, Camino 15 Gramercy Park South Real, Orpheus Descending, Summer and Smoke, Sweet Manhattan Bird of Youth, The Glass Menagerie, The Night of the Iguana, and The Rose Tattoo. -
BRIEF CHRONICLE Artistic Director the Official Newsmagazine of Writers’ Theatre Kathryn M
ISSUE twEnty-nInE MAY 2010 1 A STREETCAR NAMED DESIRE: On Stage Table of ConTenTs Dear Friends .................................................................................................... 3 “DroppeD overboarD… on Stage: A Streetcar Named Desire ...................................................................... 5 The Man. The Play. The Legend. ........................................................ 6 Director's Sidebar .................................................................................... 10 into an ocean Acting Cromer ............................................................................................. 12 Setting the Scene ..................................................................................... 13 Why Here? Why Now? ............................................................................ 14 Announcing the 2010/11 Season ................................................. 16 baCksTage: as blue as Event Wrap Up – Behind-the-Scenes Brunch ........................... 20 Event Wrap Up – Literary Luncheon ............................................ 22 Sponsor Salute ........................................................................................... 24 Tales of a True Fourth Grade Nothing .......................................... 26 Performance Calendar .......................................................................... 29 my first lover’s eyes!” - blanChe, A Streetcar named desire 2 A STREETCAR NAMED DESIRE: On Stage A STREETCAR NAMED DESIRE: On Stage 1 Michael halberstam tHe -
J Ohn F. a Ndrews
J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors. -
The Playhouse a Special Virtual Series July 16-August 15, 2020
the playhouse a t W h i t e La k e A Special Virtual Series July 16-August 15, 2020 Live, Outdoor Performances at The Playhouse at White Lake The Playhouse Presents From Our House to Yours Free A Special, Virtual Series Admission to Both Shows! July 16-18 A Betrothal by Lanford Wilson Chicks by Grace McKeaney White Lake Youth Theatre Presents: LOVE by Finegan Kruckmeyer Happy by Alan Zweibel July 30, 31 and August 1 at 7:00pm Sponsored by Carmichael Heating & Air Conditioning July 23-25 Mind the Gap by Kimberly, Sky and Jacy Harsch Donations Welcome! August 6-8 Violet by Bebe Sanders Clear Glass Marbles by Jane Martin August 13-15 An Evening of Live Music Co-hosted by Muskegon Civic Theatre 2 Across by Jerry Mayer Max & Ruth Bloomquist, Karen & Eric Smith, Dale Clock, Diane VanWesep, Regina Schlaff, Kyle Schlaff, David Riegler, Heather MacCallum, Claire Root Benson, and many more! showtix4u.com August 22 at 7:00pm Visit, Click, Buy, Settle in and Enjoy! Rain Date: August 23 at 7:00pm Sponsored by White Lake Area Chamber of Commerce Proud to Sponsor the White Lake Youth Theatre! 231.766.9133 www.carmichaelheating.com Cast Natalie Carmolli as Ms. Joslyn Joe Carmolli as Mr. Wasserman Production Team Director Beth Pierson Managing Director Beth Beaman Assistant Managing Director A Betrothal Cindy Beth Davis Dykema by Lanford Wilson Technical Director, Scenic and Lighting Designer Streaming July 16-18 at 7:30pm Claire Beaman Production Manager and Costumer Lanford Wilson received the 1980 Pulitzer Prize for Caroline Arana Drama and the New York Drama Critics Circle Award Production Assistant and Stage Manager for TALLEY’S FOLLY. -
Donor-Advised Fund
WELCOME. The New York Community Trust brings together individuals, families, foundations, and businesses to support nonprofits that make a difference. Whether we’re celebrating our commitment to LGBTQ New Yorkers—as this cover does—or working to find promising solutions to complex problems, we are a critical part of our community’s philanthropic response. 2018 ANNUAL REPORT 1 A WORD FROM OUR DONORS Why The Trust? In 2018, we asked our donors, why us? Here’s what they said. SIMPLICITY & FAMILY, FRIENDS FLEXIBILITY & COMMUNITY ______________________ ______________________ I value my ability to I chose The Trust use appreciated equities because I wanted to ‘to‘ fund gifts to many ‘support‘ my community— different charities.” New York City. My ______________________ parents set an example of supporting charity My accountant and teaching me to save, suggested The Trust which led me to having ‘because‘ of its excellent appreciated stock, which tools for administering I used to start my donor- donations. Although advised fund.” my interest was ______________________ driven by practical considerations, The need to fulfill the I eventually realized what charitable goals of a dear an important role it plays ‘friend‘ at the end of his life in the City.” sent me to The Trust. It was a great decision.” ______________________ ______________________ The Trust simplified our charitable giving.” Philanthropy is a ‘‘ family tradition and ______________________ ‘priority.‘ My parents communicated to us the A donor-advised fund imperative, reward, and at The Trust was the pleasure in it.” ‘ideal‘ solution for me and my family.” ______________________ I wanted to give back, so I opened a ‘fund‘ in memory of my grandmother and great-grandmother.” 2 NYCOMMUNITYTRUST. -
The Public Theater's Free Shakespeare in the Park Troilus and Cressida / Delacorte Theater, Central Park Stephanie Pietros
Early Modern Culture Volume 12 Article 28 6-12-2017 The Public Theater's Free Shakespeare in the Park Troilus and Cressida / Delacorte Theater, Central Park Stephanie Pietros Follow this and additional works at: https://tigerprints.clemson.edu/emc Part of the Literature in English, British Isles Commons, and the Theatre and Performance Studies Commons Recommended Citation Stephanie Pietros (2017) "The ubP lic Theater's Free Shakespeare in the Park Troilus and Cressida / Delacorte Theater, Central Park," Early Modern Culture: Vol. 12 , Article 28. Available at: https://tigerprints.clemson.edu/emc/vol12/iss1/28 This Theater Review is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in Early Modern Culture by an authorized editor of TigerPrints. For more information, please contact [email protected]. The Public Theater’s Free Shakespeare in the Park Troilus and Cressida Directed by Daniel Sullivan Delacorte Theater; Central Park, New York, NY Performance Date: August 9, 2016 Reviewed by STEPHANIE PIETROS he Public Theater’s production of Troilus and Cressida, directed by Daniel Sullivan, brought to the forefront the world-weariness of protracted war T that is at the heart of the play. Nothing, not even the brief romance of the titular characters, felt fresh and new, for even that was engineered by the sleazy Pandarus. The set, casting, parallels between Greeks and Trojans, jaded romances, and, ultimately, final battle between Hector and Achilles, all pointed to the conclusion Wilfred Owen drew three centuries after Shakespeare wrote his play: that Horace’s famous dictum about it being sweet and fitting to die for one’s country is not borne out by the realities of wartime.