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David Hare's Stuff Happens a Dramatic Journey of American War
International Letters of Social and Humanistic Sciences Submitted: 2015-12-31 ISSN: 2300-2697, Vol. 67, pp 57-69 Accepted: 2016-02-16 doi:10.18052/www.scipress.com/ILSHS.67.57 Online: 2016-03-04 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2016 David Hare’s Stuff Happens A Dramatic Journey of American War on Iraq Elaff Ganim Salih1, Hardev Kaur2, Mohamad Fleih Hassan3 Faculty of Modern Languages and Communication, Universiti Putra Malaysia, Serdang, Kuala Lumpur, Malaysia 1*[email protected] [email protected] [email protected] Keywords: Verbatim theatre; Stuff Happens; Orientalism; David Hare. ABSTRACT The war launched by America and its allies against the country of Iraq on 2003 was a debatable and notorious war for the public opinion was shocked with the realization that the reasons for launching the war under the title ‘Iraq’s Mass Destruction Weapons’ were false. The tragic consequences of this war led many writers around the world to question the policy of the United States and its manipulation of facts to justify their narratives. The present study examines the American policy of invading Iraq in David Hare’s Stuff Happens. It investigates Hare’s technique of combining documentary realism with imaginative reconstruction of the arguments to dramatize the American Invasion of Iraq. Stuff Happens is a historical and political play written as a verbatim theatre. It depicts the backroom deals and political maneuvers of the Bush administration in justifying their campaign against the ‘Axis of Evil’ culminated by the war against Iraq. The verbatim theatre is the best way of showing the gap between ‘what is said and what is seen to be done’. -
BBC TV\S Panorama, Conflict Coverage and the Μwestminster
%%&79¶VPanorama, conflict coverage and WKHµ:HVWPLQVWHU FRQVHQVXV¶ David McQueen This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. %%&79¶VPanorama, conflict coverage and the µ:HVWPLQVWHUFRQVHQVXV¶ David Adrian McQueen A thesis in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy August 2010 µLet nation speak peace unto nation¶ RIILFLDO%%&PRWWRXQWLO) µQuaecunque¶>:KDWVRHYHU@(official BBC motto from 1934) 2 Abstract %%&79¶VPanoramaFRQIOLFWFRYHUDJHDQGWKHµ:HVWPLQVWHUFRQVHQVXV¶ David Adrian McQueen 7KH%%&¶VµIODJVKLS¶FXUUHQWDIIDLUVVHULHVPanorama, occupies a central place in %ULWDLQ¶VWHOHYLVLRQKLVWRU\DQG\HWVXUSULVLQJO\LWLVUHODWLYHO\QHJOHFWHGLQDFDGHPLF studies of the medium. Much that has been written focuses on Panorama¶VFRYHUDJHRI armed conflicts (notably Suez, Northern Ireland and the Falklands) and deals, primarily, with programmes which met with Government disapproval and censure. However, little has been written on Panorama¶VOHVVFRQWURYHUVLDOPRUHURXWLQHZDUUeporting, or on WKHSURJUDPPH¶VPRUHUHFHQWKLVWRU\LWVHYROYLQJMRXUQDOLVWLFSUDFWLFHVDQGSODFHZLWKLQ the current affairs form. This thesis explores these areas and examines the framing of war narratives within Panorama¶VFRYHUDJHRIWKH*XOIFRQIOLFWV of 1991 and 2003. One accusation in studies looking beyond Panorama¶VPRUHFRQWHQWLRXVHSLVRGHVLVWKDW -
Saddam Hussein
Saddam Hussein ﺻﺪام ﺣﺴﻴﻦ :Saddam Hussein Abd al-Majid al-Tikriti (/hʊˈseɪn/;[5] Arabic Marshal Ṣaddām Ḥusayn ʿAbd al-Maǧīd al-Tikrītī;[a] 28 April ﻋﺒﺪ اﻟﻤﺠﻴﺪ اﻟﺘﻜﺮﻳﺘﻲ 1937[b] – 30 December 2006) was President of Iraq from 16 July 1979 until 9 Saddam Hussein ﺻﺪام ﺣﺴﻴﻦ April 2003.[10] A leading member of the revolutionary Arab Socialist Ba'ath Party, and later, the Baghdad-based Ba'ath Party and its regional organization the Iraqi Ba'ath Party—which espoused Ba'athism, a mix of Arab nationalism and socialism—Saddam played a key role in the 1968 coup (later referred to as the 17 July Revolution) that brought the party to power inIraq . As vice president under the ailing General Ahmed Hassan al-Bakr, and at a time when many groups were considered capable of overthrowing the government, Saddam created security forces through which he tightly controlled conflicts between the government and the armed forces. In the early 1970s, Saddam nationalized oil and foreign banks leaving the system eventually insolvent mostly due to the Iran–Iraq War, the Gulf War, and UN sanctions.[11] Through the 1970s, Saddam cemented his authority over the apparatus of government as oil money helped Iraq's economy to grow at a rapid pace. Positions of power in the country were mostly filled with Sunni Arabs, a minority that made up only a fifth of the population.[12] Official portrait of Saddam Hussein in Saddam formally rose to power in 1979, although he had already been the de 1979 facto head of Iraq for several years. -
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 -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
In David Hare's Stuff Happens (2004) Khaled S
International Letters of Social and Humanistic Sciences Online: 2015-10-29 ISSN: 2300-2697, Vol. 62, pp 73-90 doi:10.18052/www.scipress.com/ILSHS.62.73 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2015 "Coercive Diplomacy" in David Hare's Stuff Happens (2004) Khaled S. Sirwah Department of English, Faculty of Arts, Kafreshikh University, Egypt E-mail address: [email protected]; [email protected] Keywords: coercive diplomacy, conflict, invasion, Iraq’s WMD’s, Saddam Hussein, the UN, the US, Tony Blair, war, 9/11. ABSTRACT This paper addresses George Bush the junior's decision to invade Iraq in 2003 on the plea of its weapons of mass destructions (WMD's), as delineated in David Hare's Stuff Happens (2004), a docudrama depicting the events following the 9/11 attacks and preceding the US’s invasion of Iraq. The paper explains how Bush deals with the opponents—Colin Powell, the British PM Tony Blair, and Hans Blix—opposing his decision, based on "fabricated" evidence, by employing his father's strategy of coercive diplomacy against them, depending on both his faith and his position as President. Drawing on a postcolonial approach, the analysis of Hare's piece has demonstrated two significant aspects: 1) Bush, implementing such a strategy of coercive diplomacy, has succeeded in achieving his private agenda in invading Iraq; 2) Hare is possessed of the dramatic dexterity of mixing fiction (the significant roles of the nameless fictional characters as well as the unnamed narrator-actors) with facts (the main figures of politics) for supporting play’s different conflicts. -
Saddam Hussein, Saddam Hussein Was the President of Iraq
Animal Farm Research Chapter.3 By: Zion and Caeleb The world leader we picked was Saddam Hussein, Saddam Hussein was the president of Iraq. He was born on April 28, 1937, in Al-Awja Iraq. Hussein was raised by his mother, her second husband Ibrahim alHassan and her brother Khairallah Talfah.Hussein's first wife, Sajida, was his first cousin, the daughter of his maternal uncle Khairallah Talfah. Many of Hussein's family members were part of his regime. Brotherinlaw Brig. General Adnan Khairallah was Minister of Defense. Sonsinlaw General Hussein Kamel, husband to Raghad Hussein, led Iraq's nuclear, chemical and biological weapons program and his brother, Colonel Saddam Kamel, husband to Rana Hussein, was in charge of the presidential security forces. Eldest son Uday was head of the Iraqi Olympic Committee and younger son Qusay was head of the Internal Security Forces. And halfbrother Busho Ibrahim was the Deputy Minister of Justice. 1956 Takes part in an unsuccessful coup to overthrow King Faisal II and Prime Minister Nuri asSaid.1957 Hussein formally joins the Baath Socialist Party.July 14, 1958 King Faisal is killed in a coup led by Abdul Karim Kassem.October 1959 Hussein and others attack the motorcade of Abdul Karim Kassem. The assassination attempt fails and most of the attackers are killed. Hussein escapes and flees to Syria. Egyptian President Gamal Abdel Nasser hears of Hussein's exploits and arranges for him to travel to Cairo.February 8, 1963 Kassem is overthrown and executed, and the Baath Party takes over. -
Writing Figures of Political Resistance for the British Stage Vol1.Pdf
Writing Figures of Political Resistance for the British Stage Volume One (of Two) Matthew John Midgley PhD University of York Theatre, Film and Television September 2015 Writing Figures of Resistance for the British Stage Abstract This thesis explores the process of writing figures of political resistance for the British stage prior to and during the neoliberal era (1980 to the present). The work of established political playwrights is examined in relation to the socio-political context in which it was produced, providing insights into the challenges playwrights have faced in creating characters who effectively resist the status quo. These challenges are contextualised by Britain’s imperial history and the UK’s ongoing participation in newer forms of imperialism, the pressures of neoliberalism on the arts, and widespread political disengagement. These insights inform reflexive analysis of my own playwriting. Chapter One provides an account of the changing strategies and dramaturgy of oppositional playwriting from 1956 to the present, considering the strengths of different approaches to creating figures of political resistance and my response to them. Three models of resistance are considered in Chapter Two: that of the individual, the collective, and documentary resistance. Each model provides a framework through which to analyse figures of resistance in plays and evaluate the strategies of established playwrights in negotiating creative challenges. These models are developed through subsequent chapters focussed upon the subjects tackled in my plays. Chapter Three looks at climate change and plays responding to it in reflecting upon my creative process in The Ends. Chapter Four explores resistance to the Iraq War, my own military experience and the challenge of writing autobiographically. -
Panorama's Coverage of 9/11 and the 'War on Terror'
Panorama's coverage of 9/11 and the ‘War on Terror' David McQueen Introduction The BBC requires its journalists to ‘report acts of terror quickly, accurately, fully and responsibly’ (BBC, 2012: 1) yet the Corporation’s flagship current affairs series Panorama’s investigation of the 11 September atrocities and the ensuing ‘War on Terror’ was narrow, factually-flawed and served to amplify hawkish policy prescriptions that ultimately led to ruinous wars against Afghanistan and Iraq. Evidence for this view emerges through an examination of four major investigations into Al-Qaeda and the events of 9-11 broadcast between September 2001 and July 2002. Study of these key episodes shows how Panorama’s coverage lacked investigative depth and drew unfounded links between the 9-11 leader Mohamed Atta and Saddam Hussein’s regime in Iraq, whilst contributing to an information vacuum around the attacks that helped feed far-fetched conspiracy theories that sprang up in their aftermath. Other Panorama episodes dealt with the broad subject of terrorism and ‘the War on Terror’ within this period, including three studio debates (‘Britain on the Brink’; ‘War on Terrorism’ and ‘Clash of Cultures’) which have been written about elsewhere (see Cottle, 2002). The focus here, however, is on the quality of the investigative reports that dealt with the traumatic events of September 2001 and their aftermath, events which led to a profound shift in US 1 foreign and security policy, with far-reaching consequences for Britain and the rest of the world (see Norris, Kern and Just, 2003; Moeller, 2004). Context for the Investigations: the Events of 11 September On the morning of 11 September 2001, nineteen militants associated with the Islamic extremist group Al-Qaeda hijacked four American airliners armed with nothing more sophisticated than Stanley knives. -
Dubya's Foreign Policy
Operation Iraqi Freedom President George W. Bush Stage I: The Conventional War General Tommy Franks Bombing Campaign: Shock and Awe March 19, 2003 1,700 air sorties The Air War World War II Persian Gulf War 3,000 sorties for 1 target 10 sorties for 1 target Iraqi Freedom 1 plane for 10 targets Trying to Fight a Cleaner War Goal: Limit Civil Destruction JDAMS (Joint Directed Attack Munitions) E-Bombs Bugsplat American Air Superiority No American soldier has been killed by an enemy aircraft since World War II Ground War –March 20 The Battle Plan Get to Baghdad and Take Out Saddam Rumsfeld Doctrine (light and fast) International Help Country Troop Amount United States 150,000 United Kingdom 46,000 Australia 2,000 Poland 200 Fear of Chem / Bio Weapons Attack Fear of getting “slimed” Iraqi Tanks in Iraqi Freedom • About 24 Iraqi tanks out of 800 left Only 9 Iraqi oil well fires No Easy Task Operation Iraqi Freedom Expected Length: 120 days Actual Length: 21 Days (Conventional War) Cost: $917,744,361.55 (46 minutes 10 ½ seconds) Learning Lessons from Vietnam Embedded reporters No Body Count “We don’t do body counts” –Tommy Franks Fall of Saddam’s Statue April 3, 2003 Saddam’s Statue Victory in Iraq (V-I Day) -May 1, 2003 Major Combatant Operations in Iraq Have Ended Saddam’s Sons: Uday and Qusay Uday and Qusay Mosul (July 22, 2003) The End of Uday and Qusay Mosul (July 22, 2003) The End of Uday and Qusay Mosul (July 22, 2003) How did US forces locate the Hussein Brothers? • Nawaf al-Zaydan – distant relative of Saddam – homeowner – Brother and 3 other relatives killed • Granted US citizenship and left Iraq • Probably $30 million richer Operation Red Dawn (Tikrit) Captured -December 13, 2003 Stage 1: So Far So Good . -
The Judas Kiss Directed by Michael Michetti
Contact: Niki Blumberg, Tim Choy 323-954-7510 [email protected], [email protected] Boston Court Pasadena presents David Hare’s The Judas Kiss Directed by Michael Michetti February 15 – March 24 Press Opening: February 23 2019 Theatre Season Sponsored by the S. Mark Taper Foundation PASADENA, CA (January 17, 2019) — Boston Court Pasadena commences the 2019 theatre season with a rare production of David Hare’s The Judas Kiss (February 15 – March 24), which tells the story of Oscar Wilde’s love for Lord Alfred “Bosie” Douglas – and tracking his downfall as he endures a brutal trial and life in exile. Helmed by Artistic Director Michael Michetti, the play examines a literary icon who continues to hold onto his passionate ideals of love and beauty as his life crumbles around him. Sir David Hare, the British playwright behind Plenty, Skylight, and Stuff Happens creates “an emotionally rich drama illuminated by Hare’s customary insight and humanity.” (The Globe and MaiI). The Judas Kiss features Rob Nagle (Oscar Wilde), Colin Bates (Lord Alfred “Bosie” Douglas), Darius De La Cruz (Robert Ross), Will Dixon (Sandy Moffatt), Matthew Campbell Dowling (Arthur Wellesley), Mara Klein (Phoebe Cane) and Kurt Kanazawa (Galileo Masconi). In spring of 1895, Oscar Wilde was larger than life. His masterpiece, The Importance of Being Earnest, was a hit in the West End and he was the toast of London. Yet by summer he was serving two years in prison for gross indecency. Punished for “the love that dare not speak its name,” Wilde remained devoted to his beloved, Lord Alfred “Bosie” Douglas. -
Exploring Female Athletes' Body Perceptions
SQUEEZING IN: EXPLORING FEMALE ATHLETES’ BODY PERCEPTIONS Mallory E. Mann A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2015 Committee: Vikki Krane, Advisor Dafina-Lazarus Stewart Graduate Faculty Representative Nancy Spencer Dryw Dworsky ii ABSTRACT Vikki Krane, Advisor Much attention has been paid to female college athlete body image over the last three decades. However, relatively few inquiries employed a holistic approach that examined the myriad of interrelated sociocultural and personal factors influencing athletes’ body perceptions. The primary purpose of the current study was to explore female college athletes’ body image in both social and sport settings. A secondary purpose was to investigate the sociocultural context and how it influenced athletes’ body perceptions. Finally, this study sought to understand the ways in which female athletes’ social identities helped explain their body-related behaviors. Feminist and intersectional methodological approaches guided this inquiry to create partial, in- depth understandings of how female athletes think about and relate to their physiques. The study is particularly unique in its commitment to representing multiple, diverse stories from athletes without privileging one type of body perception. Using an intersectional methodology contextualized athletes body descriptions to uncover deeper meanings and underlying factors. Twenty female college athletes participated in unstructured interviews. These athletes represented eight different varsity sports at NCAA Division I, II, and III institutions. This study offers a new perspective on the relationship between motivational team climate and female athlete body image. While task-oriented team climates still appear to serve as a protective factor against body disturbances among athletes, findings also indicated that a team’s obsession with the body seemed more closely tied to body image issues than a team’s goal orientation.