DOCSLIB.ORG

Robbie Gordon Theatre-Maker and Playwright

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robbie Gordon Theatre-Maker and Playwright ROBBIE GORDON THEATRE-MAKER AND PLAYWRIGHT Email: [email protected] Mobile: 07891173246 Website: www.robbiegordon.org TRAINING 2012-2016 Royal Conservatoire of Scotland – BA (Hons) Contemporary Performance Practice CREDITS o Movement Director Lost Elves (Citizens Theatre and the Royal Conservatoire of Scotland) 13th – 29th December (Tramway). o Associate Director Square Go by Gary McNair and Kieran Hurley directed by Finn Den Hertog (Francesca Moody Productions) UK Tour: 9th September – 13th October 2019 o Writer/Movement Director 549: Scots of the Spanish Civil War directed by Jack Nurse (Wonder Fools) in association with the Citizens Theatre and Brunton Theatre: 21st May – 23rd June 2019 (Scottish Tour) o Writer/Director YOUNG BLOOD (Ayr Gaiety Young Theatre Company in collaboration with Royal Conservatoire of Scotland Young Company): 17th of November (Traverse Theatre as part of Chrysalis Emergence); 30th March 2019 (Royal Conservatoire of Scotland); 2nd April 2019 (Ayr Gaiety Theatre); 5th July 2019 (National Festival of Youth Theatre) o Director – WFxS presents: TWO ((Wonder Fools x SHOOSHT) 5th December 2018 o Workshop Leader/Sand Facilitator Pages of the Sea (Danny Boyle; National Theatre of Scotland; 1418 NOW): 11th November 2018 o Writer/Director The Madness of Crowds (The Royal Conservatoire of Scotland Young Theatre Company): 28th June (Royal Conservatoire of Scotland) o Writer A Man’s A Man For A’ Whit? (Wonder Fools in association with Summerhall and Burns Unbroke): 3rd March (Summerhall) o Writer/Movement Director 549: Scots of the Spanish Civil War (Wonder Fools in association with the Brunton Theatre and Citizens Theatre): 6th -10th of February 2018 (Prestonpans Town Hall); 13th – 17th of February (Citizens Theatre) o Writer/Performer – The Coolidge Effect (Wonder Fools): 19th – 21st January 2016 (Into The New Festival); 8th – 9th December 2016 (The Glue Factory); 22nd March 2017 (Camden People’s Theatre); 2nd June 2017 (PUSLE Festival; New Wolsely Theatre); 20th-22nd September 2017 (Traverse Theatre); 27th – 30th September 2017 (Tron Theatre) 20th October 2017 (Macrobert Arts Centre); 18th of November 2017 (New Diorama Theatre); 20th January 2018 (Big Burns Supper). o Associate Director – Lampedusa directed by Jack Nurse (Citizens Theatre in association with Wonder Fools): 8th-18th November 2017 o Director – WFxS presents: ONE (Wonder Fools x SHOOSHT) 6th July 2017 o Assistant Director – Punnocchio by Gary McNair (Oran Mor) 3rd – 22nd July 2017 o Writer/Director – ORPHEUS (Royal Conservatoire of Scotland Young Theatre Company): 27th + 28th June 2017 (Glue Factory) o Research Assistant – Locker Room Talk by Gary McNair (Traverse Theatre) 2017 o Director - When Two Worlds Collide a site-specific physical theatre performance for Galoshans Festival, Greenock (Conflux): 31st October 2016. W: www.robbiegordon.org E: [email protected] P: 07891173246 o Director – The Savoy: A Eulogy a site-specific performance (Royal Conservatoire of Scotland) 23rd May 2016 (The Savoy Centre, Glasgow) o Director - What Are They Like by Lucinda Coxon. Co-directed with Barry Henderson (Royal Conservatoire of Scotland Young Company, National Theatre Connections): 22nd June 2016 (Lyceum Theatre) o Assistant Director - Dream On! Directed by Graham McLaren (Shakespeare 400; BBC Symphony Orchestra; Royal Conservatoire of Scotland; University of Glasgow; Glasgow School of Art): 23rd April 2016 (Bute Hall, Glasgow) o Director/Writer - 549: Scots of the Spanish Civil War co-written with Jack Nurse (Wonder Fools): 1st April 2016 (Old Hairdressers, Glasgow) o Director/Creator – This Is What You Look Like (Wonder Fools): 12th – 14th June 2015 (Eden Festival); 8th – 9th August 2015 (Mugstock Festival); 21st -23rd August 2015 (Doune The Rabbit Hole); 19th September 2015 (North West Glasgow Arts Trail); 3rd – 5th of July 2015 and 1st – 3rd of July 2016 (Kelburn Garden Party); 6th – 9th August 2015 and 5th – 7th August 2016 (Belladrum Tartan Heart Festival) o Director/Writer – McNeill of Tranent: Fastest Man in the World co-written with Jack Nurse and George McNeill (Wonder Fools): 21-22nd of July 2014 (Old Hairdressers, Glasgow); 30th of July 2014 (Glasgow Commonwealth Culture 2014; Old Fruitmarket, Glasgow); 12th of November 2014 (Le Monde, Edinburgh); 20th August 2014 and 18th February, 19th May 2015 (Brunton Theatre, Musselburgh) o Director – Love The One You Hurt by Andy Gunn (Wonder Fools; Wee Theatres): 15th February 2015 o Director – Strange Undoing of Prudencia Hart by David Greig (Wonder Fools; Playwrights Studio Scotland; Crossing the Lines): 17th November 2014 (The Arches) o Assistant Director – Howl[ing] Directed by Drew Taylor-Wilson (Scottish Mental Health Arts and Film Festival; Glasgay!): 16th October 2014 (Traverse Theatre) 21st October 2014 (The Arches) o Director – We Are Not Good People (Creative Electric; Unga Nyskapare): 21st – 24th August 2013 (Kulturhuset, Stockholm Fringe Festival) UP NEXT o Writer High Rise, Low Fall (development) Tron Labs Winner 2020 o Writer This House is Burning (pre-production) commission from the Oran Mor in association with Wonder Fools: Autumn 2020 EMPLOYMENT 2014-Present Wonder Fools Co-founder and Trustee I am the co-founder and Trustee of the critically acclaimed “fiercely curious” (The Herald) Wonder Fools. Wonder Fools (SCIO) create new theatre based on a diverse range of current and historical real life stories. Our programme is conceived to be as varied as it is dynamic: exploring different forms - verbatim theatre, participatory performance, performance installations - in tandem with wide-ranging subject matters. Our last three shows have received both critical success and sell out audiences: Lampedusa was ‘an evening worth remembering’ ★★★★ Joyce McMillan (The Scotsman); The Coolidge Effect is ‘Incredibly powerful and innovative’ –★★★★ (Young Perspective); and 549: Scots of the Spanish Civil War ‘resembles Black Watch reimagined for a small town function room’ ★★★★ Neil Cooper (The Herald). W: www.robbiegordon.org E: [email protected] P: 07891173246 We are aiming to push the boundaries of who contemporary theatre and performance can appeal to by attempting to bring stories to the communities they directly concern. As a company we actively prioritise the encouragement of participation in theatre and we place engagement at the centre of our activities. Our workshops and Creative Learning programmes broaden opportunities for participation within the arts, giving the public an active role in the creation of our work For more information visit: www.wonderfools.org 2018-Present Ayr Gaiety Theatre Associate Director (Creative Learning) Our long-term vision is for a re-energised performing arts sector in Ayrshire, with the Gaiety Theatre as the hub of a network of venues and activities that will develop audiences and artists, stimulate the cultural life of the area, grow economic prosperity and improve wellbeing. One of my primary responsibilities is to manage and coordinate Gaiety Creative Learning a community theatre initiative which aims to remove any barriers people may experience in accessing theatre. We offer opportunities for people to be audience members or participants in performance and technical theatre. We work in multiple locations including areas of deprivation where income may prevent participation in the performing arts and in rural areas where opportunities to participate are limited geographically. Through our work we aim to increase well-being by developing confidence, social skills, resilience and positive aspirations for young people, and by reducing loneliness and isolation for older people. My main aim since taking up the post at the Ayr Gaiety in June has been to raise participation in theatre by providing meaningful, engaging and accessible creative opportunities to the young people of South Ayrshire. I’ve focused primarily on keeping activities low cost or free, taking work directly to communities, forming lasting partnerships, and carefully reviewing what has come before. In August 2019, I left my full-time post as Creative Learning Coordinator and became the Associate Director of Creative Learning so I could balance freelance opportunities alongside working with the Ayr Gaiety. Dropping my contracted days down in addition to attracting funding from Cashback for Creativity enabled us to employ a small team of Creative Learning staff who I now manage within my new role. The team are currently creating recorded content for a youth led live podcast, which will be broadcast from the Ayr Gaiety Mainstage on the 17th of February and will be presented by young people from all over South Ayrshire. For this project, we are working with young people in rurally isolated communities, SIMD 1 and 2 areas, Barnardos and the South Ayrshire Champion’s Board. We are also working on partnership programmes with Ayrshire College, UWS, Scottish Youth Theatre, the Royal Conservatoire of Scotland’s Fair Access department and National Theatre of Scotland. After successfully hosting the National Festival of Youth Theatre in July 2019, we are currently planning our own youth led arts festival in July 2020: ForwardFields. We will invite a collection of Scotland’s most exciting and boundary-pushing young companies and performance collectives to share their work on the Ayr Gaiety’s main stage. Hosting a series of workshops, Q&As, and creative exchanges over the two days, ForwardFields promises a W: www.robbiegordon.org E: [email protected] P: 07891173246
Load more

Recommended publications
  • No. 122 November 2012
    No. 122 November 2012 THE RED HACKLE RAF A4 JULY 2012_Layout 1 01/08/2012 10:06 Page 1 their future starts here Boarding Boys & Girls aged 9 to 18 Scholarship Dates: Sixth Form Saturday 17th November 2012 Junior (P5-S1) Saturday 26th January 2013 Senior (Year 9/S2) Monday 25th – Wednesday 27th February 2013 Forces Discount and Bursaries Available For more information or to register please contact Felicity Legge T: 01738 812546 E: [email protected] www.strathallan.co.uk Forgandenny Perthshire PH2 9EG Strathallan is a Scottish Charity dedicated to education. Charity number SC008903 No. 122 42nd 73rd November 2012 THE RED HACKLE The Chronicle of The Black Watch (Royal Highland Regiment), its successor The Black Watch, 3rd Battalion The Royal Regiment of Scotland, The Affiliated Regiments and The Black Watch Association The Old Colours of the 1st Battalion The Black Watch and 1st Battalion 51st Highland Volunteers were Laid Up in Perth on 23 June 2012. This was the final military act in the life of both Regiments. NOVEMBER 2012 THE RED HACKLE 1 Contents Editorial ..................................................................................................... 3 Regimental and Battalion News .............................................................. 4 Perth and Kinross The Black Watch Heritage Appeal, The Regimental Museum and Friends of the Black Watch ...................................................................... 8 is proud to be Correspondence .....................................................................................
    [Show full text]
  • The Black Watch Museum and Home Headquarters
    No. 102 November 2010 THE RED HACKLE Perth and Kinross is proud to be home to the Black Watch Museum and Home Headquarters Delivering Quality to the Heart of Scotland don’t lOSE YOUR VOICE - REGISTER TO VOTE In order to vote you must be registered as an elector. If you are not on the register your views and opinions will count for nothing at election time. You can and should register to vote if you are not already registered. If you have changed your name, please let us know. Members of HM Forces and their spouses or civil partners can register either by means of a service declaration or choose to be registered as an ordinary elector instead. Remember, 16 and 17 year olds who register are entitled to vote as soon as they turn 18. P.S. Did you know that registering to vote can do more than protect your democratic rights? It can also help you open a bank account or get a mortgage, loan or mobile phone. For information on registering to vote: Phone the Freefone Helpline on 0800 393783 e-mail: [email protected] or write to the Electoral Registration Officer, Moray House, 16-18 Bank Street, Inverness IV1 1QY HAVE YOUR SAY No. 102 42nd 73rd November 2010 THE RED HACKLE The Chronicle of The Black Watch (Royal Highland Regiment), its successor The Black Watch, 3rd Battalion The Royal Regiment of Scotland, The Affiliated Regiments and The Black Watch Association Private Sam Morgan receives his Afghanistan campaign medal during the visit or the Royal Colonel to Balhousie Castle on 1 June 2010.
    [Show full text]
  • Othello Marketing Pack
    1 OTHELLO By William Shakespeare MARKETING PACK 2 Contents: 1. General Information/Contact Sheet (2) 2. Sample Press Release (3) 3. Touring Schedule (4) 4. Information Page on the show (5-6) 5. Othello Review (7) 6. Biographies (8-11) 7. Production Photos (12) 8. Past Shows (13-15) 3 Date / August 2009 Icarus Theatre Collective and Original Theatre Company co-present national tour of Shakespeare’s Othello Othello, Moor of Venice By William Shakespeare Co-Produced & Directed by Max Lewendel Produced by Alastair Whatley Othello is a legend in his own lifetime, noble, brave, victorious. Honest Iago fuels his venom with malignance and hateful contempt. Poignant, intense, heartbreaking ; Othello mercilessly explores every inch of the human condition. Following on from the success of Shakespeare’s R&J and Kill Bill Macbeth, South Hill Park Arts Centre presents a major new production of Shakespeare’s great domestic tragedy co-produced with Icarus Theatre Collective and Original Theatre Company. Othello’s world will be brought vividly to life as a live string quartet and a stunning ensemble cast combine with some of literature’s most vibrant language and characters. A dangerous tale of ambition, jealousy and love will unfurl as Shakespeare’s classic tale of deception hurtles to its dramatic and poignant conclusion. Producer Alastair Whatley explains that, “After exploring Romeo and Juliet with school boys and Macbeth with Tarantino we have this year married Shakespeare with live music to the most astonishing effect. It took months of casting to find the actors who could also play the string instruments to such high standards.” The play stars Vinta Morgan as Othello, a regular actor for The Royal Shakespeare Company he has most recently finished playing in Romeo and Juliet in Stratford Upon Avon, and the renowned Maltese actor Christopher Dingli as Iago.
    [Show full text]
  • The Black Watch
    m rT-^ LIBRA RY OF THE U N IVER5ITY or ILLINOIS P58b v.l ^//h^ypf^^^/f /.>.///. y?/uf/r//fy/r y)fTi/ <: yfrcA,f^^r/ff ,'7ffttr/f the Return this book on or before Latest Date stamped below. University of Illinois Library Mr^' „^o uv 5-a Li6i_H4l Digitized by the Internet Archive in 2009 with funding from University of Illinois Urbana-Chary|aign http://www.archive.org/details/blackwatch01pick tf THE BLACK WATCH. BY THE AUTHOR OF THE DOMINIE'S LEGACY IMy heart's in the Highlands wherever I go. Scots Song. IN THREE VOLUMES. VOL. I. LONDON, RICHARD BENTLEY, NEW BURLINGTON STREET. (successor to henry colburn.) 1834. LONDON: IE0T8OM ANT) PALMER, PRINTIRS, SAVOy STV.FF.T, !^ I nANIL ?^3 Pss-^•f. TO SIR CHARLES FORBES, BART. &c. &c. &c. Sir; It was the intention of my late father to dedicate to you the following Tale, illustrative of the martial character of the Highlands of Scotland. But death has withheld him from indulging in this wish. May, I therefore, his son, presume to fulfil the design which my father entertained, and inscribe with your name this, his last, Work ? <k I have the honour to be, Sir, With great respect, ^ Your most obedient Servant, JOHN COXON PICKEN. : ! THE BLACK WATCH, CHAPTEH I. To Nature and to Holy Writ Alone did God the boy commit Where flash'd and roar'd the torrent^ oft His soul found wings^ and soar'd aloft Coleridge. The first peep of daylight was just beginning to streak the sky on the seaward side of the old town of Inverness, in the north of Scotland, when a t^l Highland youth, dressed in bonnet and trews, stole cautiously forth from the straggling outskirts, and with his face turned southerly, set hastily forward on some boyish VOL.
    [Show full text]
  • Schools Programme
    Schools Programme WELCOME A recent study found that children who regularly attended theatre with their school had higher aspirations and better hopes about their future lives. This news sent my heart soaring as this is what this job is all about! The productions presented this year are surprising and eclectic, taking the spectator along visually interesting pathways. The works include a wide variety of theatrical genres from spoken text to puppetry, from dance theatre and musical explorations to acrobatics. Many of the productions are non-text based making them accessible to a broader audience. Central to the Festival are four exciting shows by Scotland based companies as well as a regional focus on Flanders, the Dutch-speaking northern part of Belgium, one of the world’s leaders in producing innovative theatre and dance for young audiences. We have also extended the dates of the Festival to accommodate the increased demand from schools with three international productions opening in the week prior to the main Festival week. In line with our mission, this will allow more children access to high quality theatre. I hope that the 2020 Edinburgh International Children’s Festival is full of special moments for you and your students. Exquisitely theatrical experiences that encourage children and young people to wish, desire and aspire beyond their own lives and immediate neighbourhoods, into their potential future selves. Focus on Flanders supported by: Noel Jordan Festival Director Beyond the Festival: • Creative learning project Imaginate
    [Show full text]
  • Annual Newsletter, 2013
    1 The 42nd Royal Highlanders America’s premier band of pipes, fifes, and drums Annual Newsletter 2013 XLII Greetings from the 42nd! -This year’s newsletter will focus on the band’s recently-completed Tour of Scot- land from June 19-27. This was truly a trip of a lifetime and we hope to tell all about the lead-in to the trip and what all the band accomplished during the tour. Yours Aye, Preston Smith President Tour of Scotland For decades, while performing all around the United States, the 42nd band has dreamed of traveling to and performing in Scotland. In the years leading up to and following the release of “No Matter What the Season”, the band’s marching and musicianship had improved to the point where, in 2011 - following the sale of the Griffin House and creation of the Griffin Endowment - the men of the 42nd set a goal to finally reach Scotland in 2013. Scotland Tour Group, Edinburgh Castle Since setting our sights on Scotland, the band has redoubled its efforts in many areas: maintaining and improving uniforms, acquiring matched chanters to improve the sound of the pipes, repaint- ing drums, upgrading the Regimental Colors (thanks to fifer Josh Rose for the painting of the regimental device!), Arranging new sets of music, working on marching, drill, and deportment, and developing a fundraising plan to make it all possible - primarily centered around playing for the public as much as possible. In the year before leaving for Scotland, the band traveled from the Straits of Mackinaw to the Gulf Coast, and put on nearly 30 perfor- mances.
    [Show full text]
  • The Scottish Highland Regiments in the French and Indian
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1968 The cottS ish Highland Regiments in the French and Indian War Nelson Orion Westphal Eastern Illinois University This research is a product of the graduate program in History at Eastern Illinois University. Find out more about the program. Recommended Citation Westphal, Nelson Orion, "The cS ottish Highland Regiments in the French and Indian War" (1968). Masters Theses. 4157. https://thekeep.eiu.edu/theses/4157 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is rece1v1ng a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced
    [Show full text]
  • There's a Little Theatre in Us All!
    THERE’S A LITTLE THEATRE IN US ALL! Theatre Tokens - Participating Venues Details correct as of Friday, 07 July 2017 * Plus your telephone company's network charge Aberdare Coliseum 0800 014 7111 Dumfries Theatre Royal 01387 254209 Aberdeen Aberdeen Box Office 01224 641122 Dumfries (for His Majesty's Dundee Dundee Repertory 01382 223530 Theatre & Music Hall) Theatre Aberdeen His Majesty's Theatre 01224 641122 East Grinstead Chequer Mead 01342 302000 Aberdeen Music Hall 01224 641122 Theatre Aberystwyth Arts Centre 01970 623232 Eastleigh The Point Theatre 02380 652333 Aylesbury Aylesbury Waterside 0844 871 7667 Calls cost 7p/pm* Edinburgh Festival City Theatres 0131 529 6000 Theatre Edinburgh Kings Theatre 0131 529 6000 Bath Theatre Royal 01225 448844 Edinburgh Playhouse Edinburgh 0844 871 7667 Calls cost 7p/pm* Bedworth Civic Hall 02476 376707 Edinburgh Royal Lyceum Theatre 0131 248 4848 Birmingham Alexandra Theatre 0844 871 7667 Calls cost 7p/pm* Edinburgh Traverse Theatre 0131 228 1404 Birmingham Repertory Theatre 0121 236 4455 Epsom Epsom Playhouse 01372 742555 Blackburn King George's Hall 0844 847 1664 Calls cost 7p/pm* Exeter The Exeter Northcott 01392 726363 Blackpool Grand Theatre 01253 290190 Theatre Bognor Regis Alexandra Theatre 01243 861010 Eastbourne Congress Theatre 01323 412000 Bolton Octagon Theatre 01204 520661 Eastbourne Devonshire Park 01323 412000 Bradford Alhambra Theatre 01274 432000 Theatre Bradford St George's Concert 01274 432000 Eastbourne Royal Hippodrome 01323 802020 Hall Theatre Bristol Bristol Hippodrome 0844
    [Show full text]
  • Dramatising the Political in Contemporary Scottish Theatre & Performance
    Dramatising the Political in Contemporary Scottish Theatre & Performance with Dr Rania Karoula The session will start at 12:00 BST. Dramatising the Political in Contemporary Scottish Theatre and Performance Dr Rania Karoula Teaching Fellow in Literature and Theatre [email protected] Images: 1. Leaflet for the original production of Europe, Traverse Theatre, Edinburgh 1994. 2. Poster for the play The Cheviot, the stag and the black black oil at the Lyceum Theatre, Edinburgh, 1973. 3. Black Watch, photo by Manuel Harlan (NTS). 4. Alison Peebles as Queen Elizabeth I. Photo by Sean Hudson. 5. Production photo of The Suppliant Women, Royal Lyceum, 2016. Defining the ‘political’ in theatre • ‘Political theatre is intellectual theatre. Political meaning is “read” by the spectator’. (Michael Kirby) • ‘The political realm rises directly out of acting together, the “sharing of words and deeds”. The theatre is the political art par excellence; only there is the political sphere transposed into art. By the same token, it is the only art whose sole subject is man in his relationship to others’. (Hannah Arendt) • ‘The theatre can never “cause” a social change. It can articulate pressure towards one, help people celebrate their strengths and maybe build self- confidence…Above all, it can be the way people find their voice, their solidarity and their collective determination’. (John McGrath) • ‘The history of political theatre is also a history of how to use spaces other than the proscenium arch’. (Olga Taxidou) What is contemporary drama? • Theatre
    [Show full text]
  • CONTENTS THURS 7OCT1987 NE\NS • an Indepth Guide on How to Survive Life at KB, a Must for All Would-Be Scientific Persons
    IAllOlllCE II \\ OI B!,,:\<, \I GIWERY IU S I ' \'(' I{ \\ I NaumGabo ....,__.. .,.,.. ,.tim. M<>oopf1nts BIJ;GAU & NOiTU IND!A,'' CUISINE ends 24th Oct. hliomladlr$ Colin Baxter's SrpnltClrT)"-Ool M.. Scotland the Nature r.u11 ... rorv"""*'5 of the Lend 21·230ct 164HIGHSTREET Mon-Sat 10 am-5 pm EDINBURGH Admisston free Toi : 031 -225 ZJ61 EDINBURGH UNIVERSITY STUDENTS' NEWSPAPER FREE CONTENTS THURS 7OCT1987 NE\NS • An indepth guide on how to survive life at KB, a must for all would-be scientific persons. • The truth about the "hackworld". Can the people behind the declarations expres­ sed in your EUSA Stu­ dent Handbook really be that sincere? L ·ETTERS • None! There's actu­ ally no letters on the • • letters page this week ~ . because a. this is a special Freshers' Week issue and b. because we're waiting for you the readers to send us your observa­ "Now, where are the EUSA offices again?" tions upon life as we know it. IVIUSIC • An extremely help­ ful venue guide for all new arrivals to the city. •A preview of what's coming up on the band scene. THE CE\TRE FOLD • See the bare essen­ tials revealed in this week's centre page spread! Rear of the Year: Oh! Don't look so glum Sara, Studenrs out today! . Freshers'VVeek'87 ~~-.-- • Guides to theatres and galleries for all you cultural type~. FEATUR'ES • Exposes on Edin­ burgh's pubs, shop­ ping facilities and a! even our own Unions. FILIVI • An amazing film giving away, including an exclusive James Bond pen competition.
    [Show full text]
  • Shakespeare Theatre Company Begins January 26
    Candide SHAKESPEARE THEATRE COMPANY BEGINS JANUARY 26 presents The National Theatre of Scotland’s production of BLACK WATCH by Gregory Burke directed by John Tiffany “It’s essential that you January 26–February 6, 2011 see Black Watch.” Sidney Harman Hall New York Observer Hurtling from a pool room in Scotland to an armored wagon in Iraq, Black Watch is based on interviews conducted by Gregory Burke with former soldiers who served in Iraq. Viewed through the eyes of those on the ground, Black Watch reveals what it means to be part of the legendary Scottish regiment, what it means to be part of the war on terror and what it means to make the journey home again. John Tiffany’s production from the National Theatre of Scotland makes powerful and inventive use of movement and music to create a visceral, complex and urgent piece of theatre. This production of Black Watch launches its U.S. tour at the Shakespeare Theatre Company, having played to universal acclaim in Australia, New Zealand, London, Toronto, Los Angeles, New York, Edinburgh and more. Runtime is 1 hour 50 minutes long with no intermission. Black Watch contains very strong language, loud explosions and strobe lighting. Recommended for audiences 13 years and older. Special notice for stage seating: Due to the highly physical nature of the performance, there will be absolutely no late seating for these seat locations. If you need to leave during the show you must be escorted by an usher and will not be allowed to re-enter the show. Tickets on sale now! Call 202.547.1122 or visit ShakespeareTheatre.org today! Media Partners: Groups of 10+, call 202.547.1122, option 6 Photos: Cameron Barnes as Macca; Chris Starkie as Stewarty, Keith Fleming as Sergeant and Scott Fletcher as Kenzie34 in the National Theatre of Scotland’s production of Black Watch.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Unlisted Character: On the Representation of War and Conflict on the Contemporary Stage Julia Boll PhD University of Edinburgh 2011 Abstract The focus of this dissertation is the theatrical representation of both the individual and war in a time of disintegrating national states and the dramatisation of destruction versus survival as the driving forces on stage. In a study on the future of empire it has been observed that instead of progressing into a peaceful future, the 21 st century has slipped back in time into the nightmare of perpetual and indeterminate state of warfare: ceasing to be the exceptional state, war has become 'the primary organising principle of society', thus echoing Giorgio Agamben's declaration that the state of exception has become the status quo.
    [Show full text]