J C Trewin Papers MS 4739
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ANNUAL REVIEW 2015 -16 the RSC Acting Companies Are Generously Supported by the GATSBY CHARITABLE FOUNDATION and the KOVNER FOUNDATION
ANNUAL REVIEW 2015 -16 The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION. Hugh Quarshie and Lucian Msamati in Othello. 2015/16 has been a blockbuster year for Shakespeare and for the RSC. 400th anniversaries do not happen often and we wanted to mark 2016 with an unforgettable programme to celebrate Shakespeare’s extraordinary legacy and bring his work to a whole new generation. Starting its life in Stratford-upon-Avon, Tom Morton-Smith about Oppenheimer, we staged A Midsummer Night’s a revival of Miller’s masterpiece Dream in every nation and region Death of a Salesman, marking his of the UK, with 84 amateurs playing centenary, and the reopening of Bottom and the Mechanicals and The Other Place, our new creative over 580 schoolchildren as Titania’s hub. Our wonderful production of fairy train. This magical production Matilda The Musical continued on has touched the lives of everyone its life-enhancing journey, playing involved and we are hugely grateful on three continents to an audience to our partner theatres, schools and of almost 2 million. the amateur companies for making this incredible journey possible. Our work showcased the fabulous range of diverse talent from across We worked in partnership with the the country, and we are proud of the BBC to bring ‘Shakespeare Live! From increasing diversity of our audiences. the RSC’ to a television audience of 1.6m and to cinema audiences in People sometimes ask if Shakespeare 15 countries. The glittering cast is still relevant. The response from performed in the Royal Shakespeare audiences everywhere has been a Theatre to an audience drawn from resounding ‘yes’. -
The Ideal of Ensemble Practice in Twentieth-Century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London P
The Ideal of Ensemble Practice in Twentieth-century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London PhD January 2015 1 I hereby declare that the work presented in this thesis is my own and has not been and will not be submitted, in whole or in part, to any other university for the award of any other degree. Philippa Burt 2 Acknowledgements This thesis benefitted from the help, support and advice of a great number of people. First and foremost, I would like to thank Professor Maria Shevtsova for her tireless encouragement, support, faith, humour and wise counsel. Words cannot begin to express the depth of my gratitude to her. She has shaped my view of the theatre and my view of the world, and she has shown me the importance of maintaining one’s integrity at all costs. She has been an indispensable and inspirational guide throughout this process, and I am truly honoured to have her as a mentor, walking by my side on my journey into academia. The archival research at the centre of this thesis was made possible by the assistance, co-operation and generosity of staff at several libraries and institutions, including the V&A Archive at Blythe House, the Shakespeare Centre Library and Archive, the National Archives in Kew, the Fabian Archives at the London School of Economics, the National Theatre Archive and the Clive Barker Archive at Rose Bruford College. Dale Stinchcomb and Michael Gilmore were particularly helpful in providing me with remote access to invaluable material held at the Houghton Library, Harvard and the Harry Ransom Center at the University of Texas, Austin, respectively. -
PETER BROOK Motivos Y Estrategias
UNIVERSIDAD DE GRANADA FUNDAMENTOS DE LA PUESTA EN ESCENA EN EL TEATRO DE PETER BROOK Motivos y estrategias TESIS DOCTORAL FUNDAMENTOS DE LA PUESTA EN ESCENA EN EL TEATRO DE PETER BROOK Motivos y estrategias Autor Juan Antonio Bottaro Montoto Directores María José Sánchez Montes Carlos Alba Peinado Departamento de Lingüística General y Teoría de la Literatura Granada 2014 Editor: Editorial de la Universidad de Granada Autor: Juan Antonio Bottaro Montoto D.L.: GR 2119-2014 ISBN: 978-84-9083-141-0 AGRADECIMIENTOS A mi directora de tesis, la Dra. María José Sánchez Montes, por la sabiduría con la que me ha guiado, su paciencia y su gran colaboración. A mi director de tesis, Dr. Carlos Alba Peinado, por su ánimo, guía e inesti- mable apoyo. Al Dr. Ángel Berenguer, por su impresionante labor al frente del programa de Teoría, historia y práctica del teatro (UAH), en el que tanto aprendí y que tanto ha hecho por el avance de los estudios teatrales. A los tres, de nuevo, mi más sincero agradecimiento. A Victoria ÍNDICEÍNDICE 1. INTRODUCCIÓN 10 1.1. Objetivo de la tesis 10 1.2. Estado de la cuestión 10 1.3. Metodología 15 1.4. Estructura 20 2. GÉNESIS Y MOTIVOS EN PETER BROOK 21 2.1. Peter Stephen Paul 21 2.2. El director de escena 29 2.3. La crisis del teatro 43 2.4. La muerte del teatro 49 2.5. Las raíces del teatro 62 2.6. El «teatro sagrado» 74 2.7. El «teatro tosco» 89 2.8. La metáfora del círculo 94 2.9. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Text Pages Layout MCBEAN.Indd
Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Wte Stop! Mth Critmm $A% INCORPORATING the ROYAL GAZETTE (Established 1828) and the BERMUDA COLONIST (Established 1866)
LIGHTING-UP TIME WEATHER FORECAST 7.42 P.M. Fine Wte Stop! mth CritmM $a% INCORPORATING THE ROYAL GAZETTE (Established 1828) and THE BERMUDA COLONIST (Established 1866) VOL. 21—NO. 132 HAMILTON. BERMUDA. WEDNESDAY, JUNE 3, 1936 3D PER COPY — 40/- PER ANNUM TRIBUNAL FINDS J. H. THOMAS TOLD BUDGET SECRETS 1 LIQUOR LICENSE ACT BRITISH OFFICIAL PRESS S.S. EMPIRE STATE WILLI LADY CUBITT COMMUNITY THEYSAY INFORMATION NOT DISCLOSED STAY HERE FOR 10 DAYS Many Changes from Existing Diplomatic News—Egyptian FUND That the Ucensing of clubs is to con FOR PRIVATE GAIN tinue. Law Question—Budget N.Y. State Training Ship is Public Support Needed * * * Disclosures Making Her Annual Visit That someday someone is going to The Uquor Ucensing system which The Committee of the Lady Cubitt determine whether it is Ucence or Alfred Bates and Sir Alfred Butt Bermuda has seen fit to adopt has Community Fund And themselves Ucense. LONDON, June 2. (BOP)—The just survived a heavy attack in the WILL MAKE CRUISE SOUTH on the horns of a dilemma. There King received at Buckingham Palace House of Assembly, and it is hoped is the natural desire to carry on That local Concerned in Case Which Caused this evening representatives cf ex- authorities apparently that it has come out of that ordeal The^S.s. Empire State, mercantile j charitable work without undue pub- differ. service mens organisations from Aus stronger than before. Ucity. There is also the need, tn tria, Bulgaria, France, Germany and marine tiaining ship for the State ot" Colonial Secretary's Resignation I This was a conflict between the asking public support, to state clearly That English authorities do not. -
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 Royal Hunt of the Sun Free Download
THE ROYAL HUNT OF THE SUN FREE DOWNLOAD Peter Shaffer | 112 pages | 25 Jan 2007 | Penguin Books Ltd | 9780141188881 | English | London, United Kingdom The Royal Hunt of the Sun All rights reserved. Color: Color Technicolor. Parents Guide. There have been numerous suns over the years, but when the play was first staged it was a large metal contraption, with huge 'petals' that opened up and outwards. Royal National Theatre. Archived from the original on 9 June He does The Royal Hunt of the Sun, and is strangled. Hernando de Soto. Director Trevor Nunn makes full use of the large Olivier auditorium; scenes interlace, actors fill every inch of the stage — and occasionally the aisles — and music and mime play a large part in the proceedings. Edit page. Alun Armstrong's Pizarro is a stocky slogger who finds himself almost homo-erotically entranced by Paterson Joseph's muscularly fey and unearthly Atahuallpa. Read more. The conversion attempt fails, however, prompting the Spanish churchman to demand Atahualpa be captured and held for ransom. The expedition The Royal Hunt of the Sun predominantly in the name of gold, religion and belief; all Incas being heathens who must be brought before God. Felipillo as Sam Krauss Percy Herbert The play critically studies these two themes throughout the discovery of Atahualpa — the Inca Sun God — and massacre of the The Royal Hunt of the Sun themselves. Looking for some great streaming picks? They're all something. Hernando de Soto Leonard Whiting You must be a registered user to use the IMDb rating plugin. From Wikipedia, the free encyclopedia. -
RAF Wings Over Florida: Memories of World War II British Air Cadets
Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 9-15-2000 RAF Wings Over Florida: Memories of World War II British Air Cadets Willard Largent Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the European History Commons, and the Military History Commons Recommended Citation Largent, Willard, "RAF Wings Over Florida: Memories of World War II British Air Cadets" (2000). Purdue University Press Books. 9. https://docs.lib.purdue.edu/purduepress_ebooks/9 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. RAF Wings over Florida RAF Wings over Florida Memories of World War II British Air Cadets DE Will Largent Edited by Tod Roberts Purdue University Press West Lafayette, Indiana Copyright q 2000 by Purdue University. First printing in paperback, 2020. All rights reserved. Printed in the United States of America Paperback ISBN: 978-1-55753-992-2 Epub ISBN: 978-1-55753-993-9 Epdf ISBN: 978-1-61249-138-7 The Library of Congress has cataloged the earlier hardcover edition as follows: Largent, Willard. RAF wings over Florida : memories of World War II British air cadets / Will Largent. p. cm. Includes bibliographical references and index. ISBN 1-55753-203-6 (cloth : alk. paper) 1. Largent, Willard. 2. World War, 1939±1945ÐAerial operations, British. 3. World War, 1939±1945ÐAerial operations, American. 4. Riddle Field (Fla.) 5. Carlstrom Field (Fla.) 6. World War, 1939±1945ÐPersonal narratives, British. 7. Great Britain. Royal Air ForceÐBiography. I. -
Macbeth in World Cinema: Selected Film and Tv Adaptations
International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences. -
Roy Williams Has Been Quoted in the Guardian Saying: "We Only Ever Get
Comedy, drama and black Britain – An interview with Paulette Randall Eva Ulrike Pirker British theatre director Paulette Randall once said about herself and her work, "I'm not a politician, and I never set out to be one. What I do believe is that if we are in the business of theatre, of art, of creating, then that has to be at the forefront. The product, the play, has to be paramount."1 A look at her creative output, however, shows her political engagement in place – not so much in the sense of taking a proffered side, but certainly in the sense of insisting on participation in the public debate. To name just a few of her recent projects: Her 2003 production of Urban Afro Saxons at the Theatre Royal Stratford East was a timely intervention in the public debate about Britishness. The staging of James Baldwin's Blues for Mr Charlie (2004) at the Tricycle Theatre provided a thought-provoking viewing experience for a British audience in the wake of the Stephen Lawrence Inquiry. For the Trycicle and Talawa Theatre Company, Randall has staged four of August Wilson's plays. Her most recent theatre project was a production of Mustapha Matura's adaptation of Chekhov's Three Sisters at the Birmingham Repertory Theatre in 2006.2 However, Paulette Randall also has a professional life outside the theatre, where she makes her impact on the landscape of British sitcoms as a television producer. The following interview focuses not so much on specific productions, but more generally on her views on television, Britain's theatre culture, and the representations of Britain's diverse society.