King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Five Children and It
Pathé FIVE CHILDREN AND IT Press pack Released Friday 15 October 2004 - Scotland Only Released Friday 22 October 2004 - Nationwide For further information please contact: Emily Carr [email protected] Victoria Keeble [email protected] Bella Gubay [email protected] 020 7426 5700 Pathé FIVE CHILDREN AND IT Press pack Capitol Films and the UK Film Council present in association with the Isle of Man Film Commission and in association with Endgame Entertainment a Jim Henson Company Production a Capitol Films / Davis Films Production Written by: David Solomons Produced by: Nick Hirschkorn Lisa Henson Samuel Hadida Directed by: John Stephenson FIVE CHILDREN AND IT Cast List It .............................................................................. Eddie Izzard Cyril......................................................................... Jonathan Bailey Anthea...................................................................... Jessica Claridge Robert ...................................................................... Freddie Highmore Jane.......................................................................... Poppy Rogers The Lamb................................................................. Alec & Zak Muggleton Horace...................................................................... Alexander Pownall Uncle Albert............................................................. Kenneth Branagh Martha...................................................................... Zoë Wanamaker Father...................................................................... -
Jan Pester 10X40 Neo`Noir TV Comedy Starring:- Uma Thurman
Jan Pester Director of Photography Features & Television Drama PRODUCTION DIRECTOR COMPANY FEATURES & MAJOR TELEVISION Adam Brooks Universal Cable Prod IMPOSTERS for Bravo 10x40 Neo`Noir TV Comedy Starring:- Uma Thurman, Inbar Lavi,Rob Heaps THE LADY IN THE VAN Nicholas Hytner BBC Films 2nd Unit Feature Film- Comedy Starring:- Dame Maggie Smith, Jim Broadbent James Corden, Alex Jennings,Dominic Cooper THE SECRET AGENT BBC 2nd Unit Charles 2 x 60 Mins McDougall Starring:- Toby Jones, Ash Hunter, Vicky McClure SWANSONG Douglas Ray Contented Productions Feature Film Productions M Comedy Thriller Starrng:- Eva Birthistle, Paul Hilton Antonia Campbell-Hughes, Matt Berry GARY: TANK COMMANDR Comedy drama series Starring: Greg McHugh, Scott Fletcher THE WICKER TREE Robert Hardy British Lion Films Horror Feature – RED 4k Part of Robin Hardy’s “Wicker Man Trilogy” based on his eerie 1973 film The “Wicker Man” Starring: Sir Christopher Lee, Suzie Amy, Honeysuckle Weeks, Brittania Nicol, Henry Garrett, Graham McTavish http://thewickertreemovie.com DINOSAPIEN David Winning Alberta Filmworks / BBC Major International Drama series shot on HD in Alberta Brendon Canada. Sheppard Starring: Brittney Wilson, Alexandra Gingras, Brendan Dean Bennett Meyer Pat Williams EMMY Nomination “Outstanding Achievement in Single Camera Camera Photography” Winner, Gold, Worldfest, Houston, 2007 Winner, Silver Plaque, Chicago, 2007 Hugo Television Awards HOGFATHER Vadim Jean The Mob Film Co High Profile Fantasy Action Drama Shot on Arri D20 for Sky One Starring: David -
Richard II First Folio
FIRST FOLIO Teacher Curriculum Guide Welcome to the Table of Contents Shakespeare Theatre Company’s production Page Number of About the Play Richard II Synopsis of Richard II…..…….….... …….….2 by William Shakespeare Interview with the Director/About the Play…3 Historical Context: Setting the Stage….....4-5 Dear Teachers, Divine Right of Kings…………………..……..6 Consistent with the STC's central mission to Classroom Connections be the leading force in producing and Tackling the Text……………………………...7 preserving the highest quality classic theatre , Before/After the Performance…………..…...8 the Education Department challenges Resource List………………………………….9 learners of all ages to explore the ideas, Etiquette Guide for Students……………….10 emotions and principles contained in classic texts and to discover the connection between The First Folio Teacher Curriculum Guide for classic theatre and our modern perceptions. Richard II was developed by the We hope that this First Folio Teacher Shakespeare Theatre Company Education Curriculum Guide will prove useful as you Department. prepare to bring your students to the theatre! ON SHAKESPEARE First Folio Guides provide information and For articles and information about activities to help students form a personal Shakespeare’s life and world, connection to the play before attending the please visit our website production. First Folio Guides contain ShakespeareTheatre.org, material about the playwrights, their world to download the file and their works. Also included are On Shakespeare. approaches to explore the plays and productions in the classroom before and after the performance. Next Steps If you would like more information on how First Folio Guides are designed as a you can participate in other Shakespeare resource both for teachers and students. -
Robert Greene and the Theatrical Vocabulary of the Early 1590S Alan
Robert Greene and the Theatrical Vocabulary of the Early 1590s Alan C. Dessen [Writing Robert Greene: Essays on England’s First Notorious Professional Writer, ed. Kirk Melnikoff and Edward Gieskes (Aldershot and Burlington, VT: Ashgate, 2008), pp. 25-37.\ Here is a familiar tale found in literary handbooks for much of the twentieth century. Once upon a time in the 1560s and 1570s (the boyhoods of Marlowe, Shakespeare, and Jonson) English drama was in a deplorable state characterized by fourteener couplets, allegory, the heavy hand of didacticism, and touring troupes of players with limited numbers and resources. A first breakthrough came with the building of the first permanent playhouses in the London area in 1576- 77 (The Theatre, The Curtain)--hence an opportunity for stable groups to form so as to develop a repertory of plays and an audience. A decade later the University Wits came down to bring their learning and sophistication to the London desert, so that the heavyhandedness and primitive skills of early 1580s playwrights such as Robert Wilson and predecessors such as Thomas Lupton, George Wapull, and William Wager were superseded by the artistry of Marlowe, Kyd, and Greene. The introduction of blank verse and the suppression of allegory and onstage sermons yielded what Willard Thorp billed in 1928 as "the triumph of realism."1 Theatre and drama historians have picked away at some of these details (in particular, 1576 has lost some of its luster or uniqueness), but the narrative of the University Wits' resuscitation of a moribund English drama has retained its status as received truth. -
Henry Iv, Parts One &
HENRY IV, PARTS ONE & TWO by William Shakespeare Taken together, Shakespeare's major history plays cover the 30-year War of the Roses, a struggle between two great families, descended from King Edward III, for the throne of England. The division begins in “Richard II,” when that king, of the House of York, is deposed by Henry Bolingbroke of the House of Lancaster, who will become Henry IV. The two Henry IV plays take us through this king's reign, ending with the coronation of his ne'er-do-well son, Prince Hal, as Henry V. In subsequent plays, we follow the fortunes of these two families as first one, then the other, assumes the throne, culminating in “Richard III,” which ends with the victory of Henry VII, who ends the War of the Roses by combining both royal lines into the House of Tudor and ruthlessly killing off all claimants to the throne. What gives the Henry IV plays their great appeal is the presence of a fat, rascally knight named Falstaff, with whom Prince Hal spends his youth. Falstaff is one of Shakespeare's most memorable characters and his comedy tends to dominate the action. He was so popular with audiences that Shakespeare had to kill him off in “Henry V,” lest he detract from the heroism of young King Henry V. “Henry IV, Part One,” deals with a rebellion against King Henry by his former allies. The subplot concerns the idle life led by the heir to the throne, Prince Hal, who spends his time with London's riffraff, even going so far as to join them in robbery. -
For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands. -
Arden of Faversham, Shakespearean Authorship, and 'The Print of Many'
Chapter 9 Arden of Faversham, Shakespearean Authorship, and 'The Print of Many' JACK ELLIOTT AND BRETT GREATLEY-HIRSCH he butchered body of Thomas Arden is found in the field behind the Abbey. After reporting Tthis discovery to Arden's wife, Franklin surveys the circumstantial evidence of footprints in the snow and blood at the scene: I fear me he was murdered in this house And carried to the fields, for from that place Backwards and forwards may you see The print of many feet within the snow. And look about this chamber where we are, And you shall find part of his guiltless blood; For in his slip-shoe did I find some rushes, Which argueth he was murdered in this room. (14.388-95) Although The Chronicles of England, Scotland, and Ireland by Raphael Holinshed and his editors records the identities and fates of Arden's murderers in meticulous detail (Holinshed 1587, 4M4r-4M6v; 1587, 5K1v-5K3v), those responsible for composing the dramatization of this tragic episode remain unknown. We know that the bookseller Edward White entered The Lamentable and True Tragedy ofArden ofFaversham in Kent into the Stationers' Register on 3 April 1592 (Arber 1875-94, 2: 607 ), and we believe, on the basis of typographical evidence, that Edward Allde printed the playbook later that year ( STC 733). We know that Abel Jeffes also printed an illicit edition of the playbook, as outlined in disciplinary proceedings brought against him and White in a Stationers' Court record dated 18 December 1592 (Greg and Boswell 1930, 44). No copies of this pirate edition survive, but it is assumed to have merely been a reprint of White's; Jeffes was imprisoned on 7 August 1592, so his edition must have appeared prior to this date. -
Shakespeare's Great Cycle of Kings / Brooklyn Academy of Music Elizabeth Zeman Kolkovich
Early Modern Culture Volume 12 Article 24 6-12-2017 King and Country: Shakespeare's Great Cycle of Kings / Brooklyn Academy of Music Elizabeth Zeman Kolkovich Joey Burley Kaylor Montgomery Will Sly Ashley Van Hesteren 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 Elizabeth Zeman Kolkovich, Joey Burley, Kaylor Montgomery, Will Sly, and Ashley Van Hesteren (2017) "King and Country: Shakespeare's Great Cycle of Kings / Brooklyn Academy of Music," Early Modern Culture: Vol. 12 , Article 24. Available at: https://tigerprints.clemson.edu/emc/vol12/iss1/24 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]. King and Country: Shakespeare’s Great Cycle of Kings Harvey Theater, Brooklyn Academy of Music (BAM) Brooklyn, New York Performance Dates: April 8-10, 2016 Reviewed by ELIZABETH ZEMAN KOLKOVICH with JOEY BURLEY, KAYLOR MONTGOMERY, WILL SLY, and ASHLEY VAN HESTEREN he Royal Shakespeare Company’s “King and Country: Shakespeare’s Great Cycle of Kings,” directed by Gregory Doran, performed full-length versions of Richard T II, 1 Henry IV, 2 Henry IV, and Henry V in succession. These plays originated as individual performances at Stratford-upon-Avon in 2013-15 and then toured as a cycle to London, China, Hong Kong, and New York. We saw the New York version: a whirlwind tour through four plays in three days at the Brooklyn Academy of Music.1 The production merged Shakespeare’s time with our own in its costuming and effects. -
The First Part of Sir John Oldcastle
(the un iversity or a bic ag o FOUNDID BY J OH N D. ROCKEFELLEB T H E FIRS T PA RT OF SIR JOH N OLDCA STLE A H IS TORICAL DRAM A BY MICH ON , TH Y M H THW Y AND AN ON A A , ROBERT WILSON E E DIT D WITH AN IN TROD UCTION , CRITICAL TEXT . AND NOTES A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND LITERATURE OF THE UNIVERS ITY OF CHICAGO IN CAN DIDACY FO R T H E D E G RE E O F DOCTOR OF PHILOSOPHY (DEPARTM EN T OF ENGLIS H ) JOHN ROBERTSON M ACARTHUR J J J J J CHICAGO S C T T F RES M AND C M P Y O , O AN O AN 1 907 E L! CONTENTS ACKNOWLEDGM ENTS HIS TORY OF T H E TEXT AND ITS EDIT IONS ’ Recor ds in Henslowe . Records in the Stationers Re r . E i s : B . R giste d tion A , , C , D , etc elations of ° A B . r E i . r , , C , D Othe d tions The Second Pa t of Sir John Oldcastle . SOURCES AND GROWT H OF T H E PLAY ' The Rea l Sir John Oldcastle . Immediate Sources — h Holinshed . Causes w ich led to the Wr iting of Sir John Oldcastle : Oldcastle and Falsta ff ; Influence of r r r s Foxe ; G owth of the Oldcastle Sto y in two fo m , Catholic and Protestant ; Wr iting of Sir John Old ’ cas tle ; Wee ver s Poem ; Influence of Henry IV and V ’ — on Oldcastle ; Influence of Peele s Edward I Rela ’ tions in detail ; Relation to Gr eene s Pin ner of Wake R rr E field ; elation to the Me y Devil of dmonton . -
Eugenie Pastor-Phd Thesis Moving Intimacies
MOVING INTIMACIES: A COMPARATIVE STUDY OF “PHYSICAL THEATRES” IN FRANCE AND THE UNITED KINGDOM EUGÉNIE FLEUR PASTOR ROYAL HOLLOWAY, UNIVERSITY OF LONDON DEPARTMENT OF DRAMA AND THEATRE A Thesis submitted as a partial fulfilment of the requirements of the degree of Ph.D. August 2014 1 DECLARATION OF AUTHORSHIP I, Eugénie Fleur Pastor, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 7 August 2014 2 ABSTRACT This thesis is an exploration of movement in contemporary “physical theatres”. I develop a renewed understanding of “physical theatres” as embodied framework to experience both spectatorship and theatre-making. I analyse how, in this type of performance, movement blurs distinctions between the intimate and the collective, the inside and the outside, thus challenging definitions of intimacy and tactility. The thesis consists of a comparative study of examples of “physical theatres”, in the 21st century, in France and in the UK. The comparison highlights that “physical theatres” practitioners are under-represented in France, a reason I attribute in part to a terminological absence in the French language. The four case studies range from itinerant company Escale and their athletic embodiment of a political ideal to Jean Lambert-wild’s theatre of “micro-movement”, from Told by an Idiot’s position in a traditional theatre context in the UK to my own work within Little Bulb Theatre, where physicality is virtuosic in its non- virtuosity. For each case study, I use a methodology that echoes this exploration of movement and reflects my position within each fieldwork. -
A Disappearing Number
ADisappearing Number Conceived and Directed by Simon McBurney Devised by the Company Original Music Nitin Sawhney Design Michael Levine Lighting Paul Anderson Sound Christopher Shutt Projection Sven Ortel for mesmer Costume Christina Cunningham Associate Director Catherine Alexander A Complicite co-production with Barbican bite07, Ruhrfestspiele, Wiener Festwochen, Holland Festival, in association with Theatre Royal Plymouth Full production details www.complicite.org This information pack accompanies the online video clips which explore some of the ideas behind the production and offer a glimpse of how Complicite works in rehearsal. Dive into the production polaroid on www.complicite.org and play. Workpack written by Catherine Alexander (Associate Director) Natasha Freedman (Complicite Education) Victoria Gould (Artistic Collaborator) 14 Anglers Lane London NW5 3DG T.+44 (0) 20 7485 7700 F.+44 (0) 20 7485 7701 Theatre de Complicite Education Ltd. Registered Charity 1012507 Introduction Mathematics is at the heart of Ramanujan and Hardy’s story. Many of the collaborators on A Disappearing Number had an initial fear of mathematics, but as a company we played with numbers and formulae in order to become comfortable with mathematical ideas and enhance our understanding of the subject. This process of playful exploration brought mathematics to life but the question remained as to how to convey these mathematical ideas on stage. Though the production doesn’t endeavour to understand or explain the mathematics, story telling and theatrical metaphors are used in an attempt to express mathematics through rhythm, movement patterns and scene structures. We started by playing very simple games. Mathematics is not a spectator sport George M Phillips Bringing mathematics to life on stage Exercise: Number Sequences One person stands facing the rest of the group and says a sequence of numbers out loud.