Inspector Calls (LUCY)
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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’. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
Sample Assessment Materials NEW Issue 4
GCSE (9-1) Drama Sample Assessment Materials Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Drama (1DR0) First teaching from September 2016 First certification from June 2018 Issue 4 Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualification websites at www.edexcel.com, www.btec.co.uk or www.lcci.org.uk. Alternatively, you can get in touch with us using the details on our contact us page at qualifications.pearson.com/contactus About Pearson Pearson is the world's leading learning company, with 22,500 employees in more than 70 countries working to help people of all ages to make measurable progress in their lives through learning. We put the learner at the centre of everything we do, because wherever learning flourishes, so do people. Find out more about how we can help you and your learners at qualifications.pearson.com References to third party material made in these sample assessment materials are made in good faith. Pearson does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.) All information in this document is correct at time of publication. Original origami artwork: Mark Bolitho Origami photography: Pearson Education Ltd/Naki Kouyioumtzis ISBN 978 1 4469 2632 1 All the material in this publication is copyright © Pearson Education Limited 2021 Summary of Pearson Edexcel Level 1/Level 2 GCSE (9–1) Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest in Drama SAMs Issue 4 changes awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. -
William and Mary Theatre Main Stage Productions
WILLIAM AND MARY THEATRE MAIN STAGE PRODUCTIONS 1926-1927 1934-1935 1941-1942 The Goose Hangs High The Ghosts of Windsor Park Gas Light Arms and the Man Family Portrait 1927-1928 The Romantic Age The School for Husbands You and I The Jealous Wife Hedda Gabler Outward Bound 1935-1936 1942-1943 1928-1929 The Unattainable Thunder Rock The Enemy The Lying Valet The Male Animal The Taming of the Shrew The Cradle Song *Bach to Methuselah, Part I Candida Twelfth Night *Man of Destiny Squaring the Circle 1929-1930 1936-1937 The Mollusc Squaring the Circle 1943-1944 Anna Christie Death Takes a Holiday Papa is All Twelfth Night The Gondoliers The Patriots The Royal Family A Trip to Scarborough Tartuffe Noah Candida 1930-1931 Vergilian Pageant 1937-1938 1944-1945 The Importance of Being Earnest The Night of January Sixteenth Quality Street Just Suppose First Lady Juno and the Paycock The Merchant of Venice The Mikado Volpone Enter Madame Liliom Private Lives 1931-1932 1938-1939 1945-1946 Sun-Up Post Road Pygmalion Berkeley Square RUR Murder in the Cathedral John Ferguson The Pirates of Penzance Ladies in Retirement As You Like It Dear Brutus Too Many Husbands 1932-1933 1939-1940 1946-1947 Outward Bound The Inspector General Arsenic and Old Lace Holiday Kind Lady Arms and the Man The Recruiting Officer Our Town The Comedy of Errors Much Ado About Nothing Hay Fever Joan of Lorraine 1933-1934 1940-1941 1947-1948 Quality Street You Can’t Take It with You The Skin of Our Teeth Hotel Universe Night Must Fall Blithe Spirit The Swan Mary of Scotland MacBeth -
Experiments with Time Modernity Is Fascinated by Time. the Modern
Experiments with Time Modernity is fascinated by time. The modern world has gone through profound alterations in thinking about time. Charles Lyell’s formulation of geological ‘deep time’ in the 1830s laid the foundations for modern geology and palaeontology, and therefore for thinking about the archaic status of the Earth and its life. Without Deep Time, the temporal framework which Darwinian evolution required would have been inconceivable. In the 1840s, the imposition of a standardized national (and international) ‘Railway Time’ became necessary in order for trains to run on time: without a standard and comprehensible railway transport system, the global reach of the British Empire would have been significantly foreshortened. The postulation of a ‘fourth dimension’ in the 1880s directly informed Einstein’s theories of space-time. The discovery by Edwin Hubble in 1929 of galactic red shift, led to the big bang theory of the origin of the universe, and to speculations as to whether its expansion would increase indefinitely and thus lead, in accordance with the Second Law of Thermodynamics, to the inevitable heat death of the universe, black, frozen and remote; or, whether gravity would eventually overwhelm all other forces, making the universe contract back in on itself culminating in a satisfyingly apocalyptic ‘big crunch’. Philosophically and culturally, the work of Nordau and Spengler on forms of degeneration and decline, and Bergson on time- flux, and of McTaggart and Broad on the metaphysics of time are very significant. It is therefore understandable, perhaps, that in Time and Western Man (1927), Wyndham Lewis was to criticize what he saw as the Western intelligentsia’s misguided obsession with temporality. -
Pearson Edexcel Level 1/Level 2 GCSE (9
GCSE (9-1) English Literature Sample Assessment Materials Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in English Literature (1ET0) First teaching from September 2015 First certification from June 2017 Issue 2 Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualification websites at www.edexcel.com, www.btec.co.uk or www.lcci.org.uk. Alternatively, you can get in touch with us using the details on our contact us page at qualifications.pearson.com/contactus About Pearson Pearson is the world's leading learning company, with 22,500 employees in more than 70 countries working to help people of all ages to make measurable progress in their lives through learning. We put the learner at the centre of everything we do, because wherever learning flourishes, so do people. Find out more about how we can help you and your learners at qualifications.pearson.com References to third party material made in these sample assessment materials are made in good faith. Pearson does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.) All information in this document is correct at the time of publication. Original origami artwork: Mark Bolitho Origami photography: Pearson Education Ltd / Naki Kouyioumtzis ISBN 978 1 446 91438 0 All the material in this publication is copyright © Pearson Education Limited 2021 Summary of Pearson Edexcel Level 1/Level 2 GCSE (9-1) in English Edexcel, BTEC and LCCI qualifications Literature SAMs Issue 2 changes Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. -
AQA GCSE in English Literature – 'An Inspector Calls' – J. B. Priestley
AQA GCSE in English Literature – ‘An Inspector Calls’ – J. B. Priestley Context: Setting: • The play was written in 1945 but set in 1912, this leads to lots of dramatic irony. • The play is set in the fictional town of ‘Brumley’, an industrial town in the • The play is set before WW1 which shows that Birling’s optimistic claims about war being unlikely are north of England. completely wrong. It was written at a time when many people would be recovering from the traumatic • All of the action takes place in the dining room of the Birling household. impact of WW2. They are a well off family and live in a comfortable house suited to their • Set at a time of great divisions between the upper and lower classes. wealth and status. • Women were seen as subservient and inferior to men – rich women had to marry well and poor women • The lighting should be ‘pink and intimate’ at the start of the play but when were seen as cheap labour. After WW2, women had a much more valued place in society. the Inspector arrives it should become ‘brighter and harder’ which reflects • In 1945 there was a great desire for change in society and J. B. Priestley wanted to make the most of this. the changing mood in the play. Plot Summary – Act One Plot Summary – Act Two Plot Summary – Act Three The Birling family are celebrating Sheila and Gerald’s engagement. Eric is revealed as the father. He stole money from Mr Birling's office Mr Arthur Birling, Sheila's father, is particular pleased since the to provide money to Eva. -
An Inspector Calls Is Recommended for the Artistic Team Students in Grade 8 Director……………………….JIM MEZON and Higher
An Inspector by J.B. Priestley Calls ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 Who’s Who 5 The Playwright 6-7 Director’s Notes 8 Designer’s Notes 9 Production History 10 World of the Play 11-15 Did You Know? 16 Say What? 17 Sources 18 Activities 18-29 Response Sheet 30 THE SHAW STORY MANDATE The Shaw Festival is the only theatre in the world which exclusively focuses on plays by Bernard Shaw and his contemporaries, including plays written or about the period of Shaw’s lifetime (1856 – 1950). The Shaw Festival’s mandate also includes: • Uncovered Gems – digging up undiscovered theatrical treasures, or plays which were considered major works when they were written but which have since been unjustly neglected • American Classics – we continue to celebrate the best of American theatre • Musicals – rarely-performed musical treats from the period of our mandate are re- discovered and returned to the stage WHAT MAKES • Canadian Work – to allow us to hear and promote our own stories, our own points SHAW SPECIAL of view about the mandate period. MEET THE COMPANY — OUR ENSEMBLE • Our Actors: All Shaw performers contribute to the sense of ensemble, much like the players in an orchestra. Often, smaller parts are played by actors who are leading performers in their own right, but in our “orchestra,” they support the central action helping to create a density of experiences that are both subtle and informative. • Our Designers: Every production that graces the Shaw Festival stages is built “from scratch,” from an original design. -
J. B. Priestley in the Theater of Time
Digital Kenyon: Research, Scholarship, and Creative Exchange Faculty Publications English 4-2012 J. B. Priestley in the Theater of Time Jesse Matz Kenyon College, [email protected] Follow this and additional works at: https://digital.kenyon.edu/english_publications Part of the English Language and Literature Commons Recommended Citation Matz, Jesse, "J. B. Priestley in the Theater of Time" (2012). Modernism/Modernity 19(2): 321-342. Faculty Publications. Paper 13. https://digital.kenyon.edu/english_publications/13 This Article is brought to you for free and open access by the English at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. -%3ULHVWOH\LQWKH7KHDWHURI7LPH Jesse Matz Modernism/modernity, Volume 19, Number 2, April 2012, pp. 321-342 (Article) 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/mod.2012.0040 For additional information about this article http://muse.jhu.edu/journals/mod/summary/v019/19.2.matz.html Access provided by Kenyon College (20 Oct 2014 09:56 GMT) J. B. Priestley in the Theater of Time Jesse Matz At 10:00 p.m. on Sunday, March 17, 1963, J. B. Priestley appeared on Monitor, the BBC’s fortnightly arts program, to modernism / discuss a work in progress. It was Man and Time (1964), his modernity volume nineteen, “personal essay exploring the eternal riddle,” which surveys ways number two, time has been reckoned throughout history, time’s challenges pp 321–342. © 2012 to philosophy, science, and the arts, its character in “this age,” the johns hopkins and, finally, Priestley’s own fascination: “multiple time,” in which university press past, present, and future become at once available to human understanding. -
Playing the Role of Inspector Goole in an Inspector Calls by J.B
PLAYING THE ROLE OF INSPECTOR GOOLE IN AN INSPECTOR CALLS BY J.B. PRIESTLEY By Andrew Bailes SUPERVISORY COMMITTEE: PROF. RALF REMSHARDT, CHAIR PROF. TIM ALTMEYER, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF FLORIDA 2012 © 2012 Andrew Bailes 2 “No man is an island.” −John Donne 3 ACKNOWLEDGEMENTS I would like to thank David Young for his wisdom and humor. I would like to thank Charlie Mitchell for being a terrific coach and Tim Altmeyer for teaching me ownership. Thanks to Kathy Sarra for providing me with a new body, to Tiza Garland for making it powerful, and to Yanci Bukovec for giving it a rich voice. Also, thanks to Ralf Remshardt for his insight. Finally, infinite love and appreciation to Elle Bailes for her continuous support and trust. 4 TABLE OF CONTENTS ACKNOWLEDGEMENTS…………………………………………………………………….....4 ABSTRACT……………………………………………………………………………………….6 CHAPTER 1. INTRODUCTION...……………………………………………………………………7 2. TEXTUAL ANALYSIS THE PLAY………………………………………………………………………..9 THE PLAYWRIGHT……………………………………………………………12 CONTEXT……………………………………………………………………….13 3. THE PROCESS CHARACTERIZATION………………………………………………………...16 VOCAL EXPLORATIONS……………………………………………………...18 PHYSICAL EXPLORATIONS………………………………………………….19 4. THE PRODUCTION PERFORMANCE………………………………………………………………..22 SELF-EVALUATION…………………………………………………………...24 5. CONCLUSION………………………………………………………………………..26 WORKS CITED…………………………………………………………………………………27 APPENDICES APPENDIX A – PRODUCTION PROGRAM APPENDIX B – PRODUCTION PHOTOS APPENDIX C – CHARACTER ANALYSIS BIOGRAPHICAL SKETCH…………………………………………………………………….45 5 Abstract of Project in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts PLAYING THE ROLE OF INSPECTOR GOOLE IN AN INSPECTOR CALLS BY J.B. -
Hacia Una Poética Del Teatro Social (1949-1968): España E Inglaterra
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Española II (Literatura española) TESIS DOCTORAL Hacia una poética del teatro social (1949-1968): España e Inglaterra MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Marta Olivas Fuentes Director Emilio Peral Vega Madrid, 2017 © Marta Olivas Fuentes, 2017 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA DEPARTAMENTO DE FILOLOGÍA ESPAÑOLA II HACIA UNA POÉTICA DEL TEATRO SOCIAL (1949-1968): ESPAÑA E INGLATERRA Memoria para optar al grado de doctor presentada por MARTA OLIVAS FUENTES Bajo la dirección del profesor DR. EMILIO PERAL VEGA Madrid, 2017 HACIA UNA POÉTICA DEL TEATRO SOCIAL (1949-1968): ESPAÑA E INGLATERRA Esta investigación ha sido parcialmente financiada por la beca para la Formación del Profesorado Universitario del Ministerio de Educación, Cultura y Deporte (AP2012- 04404). A mis padres, por la vida, el amor y el sacrificio. A todos mis profesores, por esa otra vida. Al palco de platea número dos del Teatro Municipal Diéguez, porque ahí empezó todo. AGRADECIMIENTOS De todas las páginas que están por venir estoy convencida de que estas son las más necesarias así que, abusando del contexto y de la paciencia del temerario lector, no quisiera dejar pasar la ocasión de mostrar mi agradecimiento a todas aquellas personas que han contribuido a que Hacia una poética del teatro social… saliese adelante. Les debo todo lo bueno que esta tesis pueda albergar así que me temo que tendré que violentar los límites preceptivos. Pido perdón de antemano si mi memoria olvida algún nombre. En primer lugar, he de mencionar al Estado español quien, a través del Ministerio de Educación, Cultura y Deporte, me dio la oportunidad, gracias a una beca FPU, de disfrutar de un privilegio al que muchos y muy queridos compañeros, con sobrados méritos, no tuvieron la suerte de poder acceder: el de seguir formándome en un ambiente académico, comenzar a investigar e iniciarme tímidamente en la docencia universitaria. -
'An Inspector Calls' Revision Pack
“AN INSPECTOR CALLS” By J B Priestley Revision pack Page 1 Summary of “An Inspector Calls.” Act 1 The Birling family are celebrating the engagement between Sheila and Gerald. Mr Birling makes pompous speeches outlining his views on the advances in science new inventions and the relationship between the bosses and workers, and saying they should ignore the ‘cranks’ who claim everybody has a responsibility to care for everybody else. Inspector Goole arrives and disrupts the evening and starts interrogating Mr Birling about the death of a woman who has committed suicide. Sheila and Eric believe their father has acted harshly for sacking Eva Smith for asking for more wages. Sheila then becomes involved by admitting that she got the young girl sacked from a shop assistant job due to jealousy. Gerald hears the girls name changed to Daisy Renton and recognises the name. Sheila warns Gerald not to hide anything from the Inspector. Act 2 Gerald admits that he knew Daisy Renton and that she was his mistress. Sheila is hurt by Gerald’s involvement with the girl yet she respects his openess. Mrs Birling begins to attempt to bully the Inspector. Mrs Birling admits that she refused this girl help when she came to her Women’s charity as a pregnant woman who refused to take money from her thief of a boyfriend. Mrs Birling blames the father of the unborn baby for the girl’s death. There is suspicion that Eric is the father of the unborn baby. Act 3 Eric confesses that he got the girl pregnant and stole money from Mr Birling to support her.