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Bring up the Bodies
BRING UP THE BODIES BY HILARY MANTEL ADAPTED FOR THE STAGE BY MIKE POULTON DRAMATISTS PLAY SERVICE INC. BRING UP THE BODIES Copyright © 2016, Mike Poulton and Tertius Enterprises Ltd Copyright © 2014, Mike Poulton and Tertius Enterprises Ltd Bring Up the Bodies Copyright © 2012, Tertius Enterprises Ltd All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of BRING UP THE BODIES is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for BRING UP THE BODIES are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. -
Three Eras, Two Men, One Value: Fides in Modern Performances of Shakespeare’S
Three Eras, Two Men, One Value: Fides in Modern Performances of Shakespeare’s Antony and Cleopatra Depictions of Marc Antony and Caesar Augustus have changed dramatically between the first and twenty-first centuries, partially because of William Shakespeare’s seventeenth-century play Antony and Cleopatra. In 2006 and 2010, England’s Royal Shakespeare Company staged vastly different interpretations of this classically influenced Shakespearean text. How do the modern performances rework ancient views of Antony and Augustus, particularly in light of the ancient Roman value fides (loyalty or good faith)? This paper answers that question by examining the intersections between Greco-Roman literary-historic narratives – as received in Shakespeare’s early modern play – and the two modern performances. The contemporary versions of Shakespeare’s Antony and Cleopatra create contrasting constructions of Antony and Augustus by modernizing the characters and/or their worlds. The 2006 rendition (directed by Gregory Doran) presents an explosive but weak-willed Antony (Sir Patrick Stewart) and a prudish yet petulant Augustus (John Hopkins). On the other hand, the 2010 adaptation (directed by Michael Boyd) shows a hotheaded and frank Antony (Darrell D’Silva) who struggles against a cold and manipulative Augustus (John Mackay). Both performances reveal the complexity of these ancient figures as the men engage with and evaluate claims upon their familial, societal, and personal fides. Representations of Antony and Augustus necessarily involve fides, though classical accounts do not always feature this term. As military and political leaders, both men led lives filled with decisions about loyalty, specifically what deserved it and in what degree. The modern dramatizations further underscore fides in their portrayals of Antony and Augustus. -
O'connell 2013
Towards a finer ecology: a study of fixed term subsidy for theatre in England O'Connell, C. Submitted version deposited in CURVE October 2014 Original citation & hyperlink: O'Connell, C. (2013) Towards a finer ecology: a study of fixed term subsidy for theatre in England. Unpublished MRes Thesis. Coventry: Coventry University. Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. CURVE is the Institutional Repository for Coventry University http://curve.coventry.ac.uk/open Towards a finer ecology - a study of fixed term subsidy for theatre in England. By C.O'Connell MAR September 2013 Towards a finer ecology - a study of fixed term subsidy for theatre in England. by Chris O'Connell September 2013 A thesis submitted in partial fulfilment of the Universityʼs requirements for the Degree of Master of Research Coventry University Abstract 'Towards a finer ecology - a study of fixed term subsidy for theatre in England.' This study contests that subsidy for theatre in England, as administrated by Arts Council England, is constricted by historical preoccupations that organise culture and are neither progressive to the organisation's goals as outlined in its document Great Art For Everyone (2010), nor adaptive to twenty-first century society. -
History As a Construct.Pdf
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature HISTORY AS A CONSTRUCT: CARYL CHURCHILL’S MAD FOREST, DAVID EDGAR’S PENTECOST, AND DAVID HARE’S STUFF HAPPENS Ömer Kemal GÜLTEKİN Ph.D. Dissertation Ankara, 2018 History as a Construct: Caryl Churchill’s Mad Forest, David Edgar’s Pentecost, and David Hare’s Stuff Happens Ömer Kemal GÜLTEKİN Hacettepe University School of Social Sciences Department of English Language and Literature English Language and Literature Ph.D. Dissertation Ankara, 2018 BİLDİRİM Hazırladığım tezin/raporun tamamen kendi çalışmam olduğunu ve her alıntıya kaynak gösterdiğimi taahhüt eder, tezimin/raporumun kağıt ve elektronik kopyalarının Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü arşivlerinde aşağıda belirttiğim koşullarda saklanmasına izin verdiğimi onaylarım: o Tezimin/Raporumun tamamı her yerden erişime açılabilir. o Tezim/Raporum sadece Hacettepe Üniversitesi yerleşkelerinden erişime açılabilir. o Tezimin/Raporumun …… yıl süreyle erişime açılmasını istemiyorum. Bu sürenin sonunda uzatma için başvuruda bulunmadığım takdirde, tezimin/raporumun tamamı her yerden erişime açılabilir. [25.01.2018] [Ömer Kemal Gültekin] YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI Enstitü tarafından onaylanan lisansüstü tezimin/raporumun tamamını veya herhangi bir kısmını, basılı (kâğıt) ve elektronik formatta arşivleme ve aşağıda verilen koşullarla kullanıma açma iznini Hacettepe Üniversitesine verdiğimi bildiririm. Bu izinle Üniversiteye verilen -
What I Learn from Theatregoing: Review Haiku
What I Learn from Theatregoing: Review Haiku Monica Prendergast1 University of Victoria [email protected] Abstract A haiku suite of theatre reviews and reflection on application to practice as drama educator and scholar. Keywords: poetic inquiry, theatre reviews, reflective practice, haiku 1 Biographical statement: Monica Prendergast is Associate Professor of drama/theatre education at the University of Victoria. She has published her poetic inquiry widely including two edited collections and two special issues. Monica also researches aspects of drama/theatre curriculum and pedagogy. Her latest project involves the development and implementation of a new performance studies curriculum for secondary students. What I Learn From Theatregoing: Review Haiku 292 Theatre is the most social of art forms, yet sharing the experience of theatre is often quite private. We might discuss the play we have seen for a few minutes with whomever has come with us and then life moves on. If we see a show alone (as I often do when travelling) our response is a soliloquy; a silent dialogue with ourselves. We may read, see or hear a review and allow the critic his or her privileged public monologue that is rarely responded to or challenged. Here, I invite you to share your responses to any or all of these review haiku created in response to theatre productions I have seen in Toronto, London, Stratford-Upon- Avon and New York in the past two to three years. I have been a freelance theatre reviewer for the Canadian Broadcasting Corporation since 2006. For over nine years now I have shared my responses to local theatre and opera productions with listeners of CBC Radio’s On the Island morning program. -
History Made Manifest Acclaimed Adaptation of Hilary Mantel’S Booker Prize-Winning Novels, Published Bynick Hern Books and 4Th Estate Alongside RSC Premiere
History made manifest Acclaimed adaptation of Hilary Mantel’s Booker Prize-winning novels, published byNick Hern Books and 4th Estate alongside RSC premiere 2014 / 1 / WOLF HALL & BRING UP THE BODIES by Hilary Mantel, adapted by Mike Poulton Thomas Cromwell. Son of a blacksmith, political genius, briber, charmer, bully. A man with a deadly expertise in manipulating people and events. 15 Mike Poulton’s acclaimed two-part adaptation of Hilary Mantel’s Booker Prize- winning novels Wolf Hall and Bring Up the Bodies is a thrilling and utterly convincing portrait of a brilliant man embroiled in the lethal, high-stakes politics of the court of Henry VIII. A co-publication between Nick Hern Books and 4th Estate, this single volume contains both acclaimed plays, an introduction by Mike Poulton, and forty-five pages of new, exclusive notes by original author Hilary Mantel on each of the principal characters, offering a unique insight into the plays and an invaluable resource to any theatre company wishing to stage them. ‘a bold, unforgettable lesson in history and politics’ The Times ‘brings the intrigues and political machinations to the stage with clarity, wit and plenty of very welcome humour… a real gem of a script for audiences and actors alike’ WhatsOnStage ‘superb… the mother of all costume dramas’ Daily Mail World Premiere: Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, 8 January-29 March 2014, directed by Jeremy Herrin Print ISBN: 978 0 00754 989 4 • Ebook ISBN: 978 0 00754 990 0 £10.99 • Script available now Hilary Mantel is an English novelist and short-story writer, best known for her Booker Prize-winning historical novels Wolf Hall and Bring Up the Bodies. -
Indirect Translation on the London Stage: Terminology and (In)Visibility
Indirect translation on the London stage: terminology and (in)visibility Geraldine Brodie* Centre for Translation Studies, University College London, UK *[email protected] Abstract Productions of translated plays on the London stage use a variety of terms to describe the interlingual interpretive process that has taken place between the source text and the performance. Most frequently, a translated play is described as a “version” or “adaptation”, with the term “translation” reserved for specialized productions. The translation method most commonly adopted is to commission a source-language expert to prepare a “literal” translation which is then used by an English-speaking theatre practitioner to produce a playscript for performance. This article examines the incidence of such indirect translation practices, the inconsistencies of the applied terminology, and the relevance for indirect translation in its wider sense, revealing the shadows of translational behaviour even within language pairs, and demonstrating the multiplicity of agents impacting on the ultimate appearance of a text in translation. Keywords: adaptation, literal translation, London theatre, theatre translation, version, indirect translation Introduction Translation is a collaborative exercise, incorporating a range of participants and stages in the trajectory between originating and ultimate texts. The romantic concept of the solitary, omniscient translator – Jerome, the patron saint of translators, alone in the desert with his bible and skull – is no longer apposite, if it ever were. The writer of the “letter of Aristeas” in around 130 BCE depicted seventy-two translators creating the early-third-century Septuagint translation of the Hebrew scripture, “making all details harmonize by mutual comparison” – although this was disputed by later authors, who preferred to ascribe the translation of sacred texts to divine inspiration (Robinson 2014, 4–5). -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc. -
Announces 2013 Winter/Spring Season—Featuring 12 Theater, Dance, Music, and Opera Engagements—From Jan 17 to Jun 9
Brooklyn Academy of Music (BAM) announces 2013 Winter/Spring Season—featuring 12 theater, dance, music, and opera engagements—from Jan 17 to Jun 9 BAM 2013 Winter/Spring Season is sponsored by Bloomberg Theater productions: The Suit in its US premiere. Direction, adaptation, and music by Peter Brook, Marie-Hélène Estienne, and Franck Krawczyk—based on The Suit, by Can Themba, Mothobi Mutloatse, and Barney Simon. Jan 17—Feb 2……………………………………………………..page 3 The Laramie Cycle, a repertory engagement from Tectonic Theater Project including The Laramie Project and The Laramie Project: Ten Years Later, directed by Moisés Kaufman and Leigh Fondakowski. Feb 12—24…………………page 6 The Royal Shakespeare Company production of Shakespeare’s Julius Caesar, directed by Gregory Doran in its US premiere. Apr 10—28………………………………………………………….page 10 The Master Builder by Henrik Ibsen, directed by Andrei Belgrader and featuring John Turturro. World premiere, produced by BAM. May 12—Jun 9…………………………………..………………….page 15 Dance engagements: Trisha Brown Dance Company in a repertory program featuring two NY premieres: Les Yeux et l’âme and I’m going to toss my arms–if you catch them they’re yours. Jan 30—Feb 2…………………………………………….……….page 5 1 The Royal Ballet of Cambodia with The Legend of Apsara Mera. Choreography by Her Royal Highness Princess Norodom Buppha Devi in collaboration with Proeung Chhieng and Soth Somaly. Presented as part of citywide Season of Cambodia festival. May 2—4…………………….…..…………….page 14 DanceAfrica 2013 returns for its 36th year under the artistic direction of Chuck Davis. Performers include Umkhathi Theatre Works (Zimbabwe), BAM/Restoration DanceAfrica Ensemble, and others. -
Some Thoughts Surrounding 2016Production of the Tempest
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Some thoughts surrounding 2016 production of The Tempest UMEMIYA Yu The following note shows the result of an on going research on the play by William Shakespeare: The Tempest. The 2016 production at the Royal Shakespeare Company (RSC), one of the leading theatre companies in England, demonstrated another innovative version of the play on their main stage in Stratford-upon-Avon, followed by its tour down to Barbican theatre in London in 2017. It did not include an extraordinary interpretation or unique casting pattern but demonstrated the extended development of technology available on stage. This note introduces the feature and the reception of the production in the latter half, with a brief summary of the play and a survey of the performance history of The Tempest in the first half. The story of The Tempest Compared to other plays by Shakespeare, The Tempest is a rare example that follows the classical idea of three unities of time, place and action, deriving from 1 Aristotle, then prescribed by Philip Sydney in Renaissance England . The similar 2 structure has already practiced in The Comedy of Errors in 1594 , but while this early comedy is often described as a simple farce, The Tempest contains various complications in terms of plots and theatrical possibilities. The story of The Tempest opens with a storm at sea, conjured by the magic of Prospero, the main character of the play. He is manipulating the tempest from the 一二七nearby island where he lives with his daughter, Miranda, and shares the land with two other fantastic creatures, Ariel and Caliban. -
1968 | 2018 Protest, Performance and the Public Sphere
1968 | 2018 Protest, Performance and the Public Sphere an interdisciplinary symposium hosted by the Department of Theatre & Performance Studies University of Warwick 7-9 June 2018 in association with The Martin E. Segal Theatre Center, the Graduate Center, CUNY Cultures of the Left: Manifestations and Performances Warwick Performance and Politics Network Warwick Arts Centre Contents CONFERENCE PREMISE - 3 - ACKNOWLEDGEMENTS - 4 - KEYNOTE SPEAKERS - 5 - SPECIAL EVENTS - 8 - HOUSEKEEPING - 10 - EXPLORING THE AREA - 12 - PROGRAMME - 14 - - 2 - Conference Premise In 1968 a wave of popular protest swept across Europe, India and North and South America. It was accompanied by demonstrations, interventions and performances, and marked the irruption of political protest in the public sphere in a way that changed culture, thinking and policy. Recent events have seen a resurgence of the popular voice (as evidenced variously, for instance, in the outcomes of the Brexit referendum, the US and French presidential elections, events in Catalonia, and the Hindutva political narrative in India). They have been accompanied by a sense of crisis concerning civic and political process, and the galvanising of radical public protest of different kinds. In view of the fiftieth anniversary of les événements and the various socio-political actions of 1968, this symposium asks what we can learn from these events. It considers what resonance 1968 has for contemporary political movements, how ‘the public’ engages with political process in current scenarios, and the extent to which popular protest, performative intervention and the public sphere are intertwined today. It also examines how civic and political change come about. What difference does protest make, and how does it get performed in specific political contexts? The symposium programme includes a visit to Trying It On at Warwick Arts Centre, the world premiere of a solo show written and performed by David Edgar. -
IMPERIUM I: CONSPIRATOR and II: DICTATOR Based on the Cicero Trilogy by ROBERT HARRIS Adapted by MIKE POULTON
PRESS RELEASE – Tuesday 13 March. 11am PRODUCTION PHOTOGRAPHY CAN BE DOWNLOADED HERE Twitter/ Facebook / Website The Royal Shakespeare Company and Playful Productions present IMPERIUM I: CONSPIRATOR and II: DICTATOR Based on the Cicero Trilogy by ROBERT HARRIS Adapted by MIKE POULTON Robert Harris’ best-selling Cicero trilogy, adapted for the stage by Mike Poulton, transfers to London’s West End this summer. This acclaimed, historical, two-part thriller has a limited 12 week engagement at the Gielgud Theatre from 14 June to 8 September 2018. Directed by RSC Artistic Director, Gregory Doran, IMPERIUM transfers to London following its recent sold-out run in Stratford. Cast will be led by Richard McCabe as Cicero (Olivier and Tony Award- winner for The Audience and BBC’s Collateral) and Joseph Kloska as Tiro (RSC’s Written On The Heart and The Crown on Netflix). Tickets go on sale to the general public on Friday 23 March at 10am via imperiumwestend.com with over 10,000 tickets available for £10 and under, throughout the run. The Royal Shakespeare Company (RSC) and Playful Productions are delighted to announce the West End transfer for acclaimed, historical two-part thriller IMPERIUM - I: Conspirator and II: Dictator, running for a limited engagement at London’s Gielgud Theatre from 14 June to 8 September 2018. Robert Harris’ best-selling Cicero trilogy is adapted for the stage by Mike Poulton as six one-act plays, presented in two performances, each with two intervals. Directed by RSC Artistic Director, Gregory Doran, IMPERIUM transfers to London following its recent sold-out run at the Swan Theatre in Stratford-Upon-Avon.