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Radio 4 Listings for 2 – 8 May 2020 Page 1 of 14
Radio 4 Listings for 2 – 8 May 2020 Page 1 of 14 SATURDAY 02 MAY 2020 Professor Martin Ashley, Consultant in Restorative Dentistry at panel of culinary experts from their kitchens at home - Tim the University Dental Hospital of Manchester, is on hand to Anderson, Andi Oliver, Jeremy Pang and Dr Zoe Laughlin SAT 00:00 Midnight News (m000hq2x) separate the science fact from the science fiction. answer questions sent in via email and social media. The latest news and weather forecast from BBC Radio 4. Presenter: Greg Foot This week, the panellists discuss the perfect fry-up, including Producer: Beth Eastwood whether or not the tomato has a place on the plate, and SAT 00:30 Intrigue (m0009t2b) recommend uses for tinned tuna (that aren't a pasta bake). Tunnel 29 SAT 06:00 News and Papers (m000htmx) Producer: Hannah Newton 10: The Shoes The latest news headlines. Including the weather and a look at Assistant Producer: Rosie Merotra the papers. “I started dancing with Eveline.” A final twist in the final A Somethin' Else production for BBC Radio 4 chapter. SAT 06:07 Open Country (m000hpdg) Thirty years after the fall of the Berlin Wall, Helena Merriman Closed Country: A Spring Audio-Diary with Brett Westwood SAT 11:00 The Week in Westminster (m000j0kg) tells the extraordinary true story of a man who dug a tunnel into Radio 4's assessment of developments at Westminster the East, right under the feet of border guards, to help friends, It seems hard to believe, when so many of us are coping with family and strangers escape. -
Wwciguide January 2017.Pdf
Air Check The Guide Dear Member, The Member Magazine for Happy New Year! January is always a very exciting month for us as we often debut some of the WTTW and WFMT Renée Crown Public Media Center most highly-anticipated series and content of the year. And so it goes, we are thrilled to bring you 5400 North Saint Louis Avenue what we hope will be the next Masterpiece blockbuster series, about the epic life of Queen Victoria, Chicago, Illinois 60625 which will fill the Sunday night time slot that Downton Abbey held to Main Switchboard great success. Following Victoria from the time she becomes Queen (773) 583-5000 through her passionate courtship and marriage to Prince Albert, Member and Viewer Services the lavish premiere season of Victoria dramatizes the romance and (773) 509-1111 x 6 reign of the girl behind the famous monarch. Also, join us for new WFMT Radio Networks (773) 279-2000 seasons of Sherlock with Benedict Cumberbatch and Mercy Street, Chicago Production Center the homegrown drama series set during the Civil War. Leading up (773) 583-5000 to both of these season premieres, you can catch up with an all-day Websites marathon. wttw.com On January 16, we will debut an all-new channel and live stream wfmt.com offering for kids! You can find our new WTTW/PBS Kids 24/7 service President & CEO free on over-the-air channel 11-4, Comcast digital channel 368, and Daniel J. Schmidt RCN channel 39. Or watch the live stream on wttw.com, pbskids.org, and on the PBS KIDS Video COO & CFO Reese Marcusson App. -
Study Guide for DE Madameby Yukio Mishima SADE Translated from the Japanese by Donald Keene
Study Guide for DE MADAMEBy Yukio Mishima SADE Translated from the Japanese by Donald Keene Written by Sophie Watkiss Edited by Rosie Dalling Rehearsal photography by Marc Brenner Production photography by Johan Persson Supported by The Bay Foundation, Noel Coward Foundation, 1 John Lyon’s Charity and Universal Consolidated Group Contents Section 1: Cast and Creative Team Section 2: An introduction to Yukio Mishima and Japanese theatre The work and life of Yukio Mishima Mishima and Shingeki theatre A chronology of Yukio Mishima’s key stage plays Section 3: MADAME DE SADE – history inspiring art The influence for Mishima’s play The historical figures of Madame de Sade and Madame de Montreuil. Renée’s marriage to the Marquis de Sade Renee’s life as Madame de Sade Easter day, 1768 The path to the destruction of the aristocracy and the French Revolution La Coste Women, power and sexuality in 18th Century France Section 4: MADAME DE SADE in production De Sade through women’s eyes The historical context of the play in performance Renée’s ‘volte-face’ The presence of the Marquis de Sade The duality of human nature Elements of design An interview with Fiona Button (Anne) Section 5: Primary sources, bibliography and endnotes 2 section 1 Cast and Creative Team Cast Frances Barber: Comtesse de Saint-Fond For the Donmar: Insignificance. Theatre includes: King Lear & The Seagull (RSC), Anthony and Cleopatra (Shakespeare’s Globe), Aladdin (Old Vic), One Flew Over the Cuckoo’s Nest (Edinburgh Festival & Gielgud). Film includes: Goal, Photographing Fairies, Prick Up Your Ears. Television includes: Hotel Babylon, Beautiful People, Hustle, The I.T. -
Timberlake Wertenbaker - Cv
TIMBERLAKE WERTENBAKER - CV Timberlake Wertenbaker is working on new commissions for the Royal Shakespeare Company, Bolton Octagon and Salisbury Playhouse. OUR COUNTRY'S GOOD will be produced at the National Theatre in 2015, directed by Nadia Fall. THEATRE: JEFFERSON'S GARDEN 2015 Watford Palace Theare, world premiere Dir: Brigid Larmour THE ANT AND THE CICADA (RSC) 2014 Midsummer Madness Dir: Erica Whyman OUR AJAX (Southwark Playhouse / Natural Perspective) 2013 Dir: David Mercatali Original play, inspired by the Sophocles play OUR COUNTRY'S GOOD (Out Of Joint) Dir: Max Stafford-Clark UK Tour & St James Theatre, London - 2013 US Tour - 2014 ANTIGONE (The Southwark Playhouse) 2011 Dir: Tom Littler THE LINE (The Arcola Theatre) 2009 Dir: Matthew Lloyd JENUFA (The Arcola Theatre) 2007 Dir: Irena Brown GALILEO'S DAUGHTER (Theatre Royal, Bath) 2004 Dir: Sir Peter Hall CREDIBLE WITNESS (Royal Court Theatre) 2001 Dir: Sacha Wares ASH GIRL (Birmingham Rep) 2000 Dir: Lucy Bailey (Adaptation of Cinderella) AFTER DARWIN (Hampstead Theatre) 1998 Dir: Lindsay Posner THE BREAK OF THE DAY (Royal Court/Out of Joint tour) 1995 Dir: Max Stafford-Clark OUR COUNTRY'S GOOD (Broadway) 1990 Dir: Mark Lamos Winner: New York Drama Critics Award for best foriegn play THREE BIRDS ALIGHTING ON A FIELD (Royal CourtTheatre) 1991 Dir: Max Stafford-Clarke Winner: Writers Guild Award Winner: Susan Smith Blackburn prize THE LOVE OF THE NIGHTINGALE (RSC) 1988 Dir: Garry Hines OUR COUNTRY'S GOOD (Royal Court Theatre) 1985 Dir: Max Stafford-Clarke Winner: Olivier Award Play -
Meeting of the Parliament
MEETING OF THE PARLIAMENT Tuesday 1 October 2013 Session 4 © Parliamentary copyright. Scottish Parliamentary Corporate Body Information on the Scottish Parliament’s copyright policy can be found on the website - www.scottish.parliament.uk or by contacting Public Information on 0131 348 5000 Tuesday 1 October 2013 CONTENTS Col. TIME FOR REFLECTION ............................................................................................................................... 23069 TOPICAL QUESTION TIME ........................................................................................................................... 23071 Emissions Targets ................................................................................................................................ 23071 REHABILITATION OF OFFENDERS ................................................................................................................ 23077 Motion moved—[Kenny MacAskill]. The Cabinet Secretary for Justice (Kenny MacAskill) .......................................................................... 23077 Graeme Pearson (South Scotland) (Lab) ............................................................................................. 23081 Margaret Mitchell (Central Scotland) (Con) .......................................................................................... 23084 Christine Grahame (Midlothian South, Tweeddale and Lauderdale) (SNP) ........................................ 23086 Mary Fee (West Scotland) (Lab) ......................................................................................................... -
Representasi Berakhirnya Politik Apartheid Dalam Film Invictus Karya Sutradara Clint Eastwood
REPRESENTASI BERAKHIRNYA POLITIK APARTHEID DALAM FILM INVICTUS KARYA SUTRADARA CLINT EASTWOOD (Analisis Semiotika John Fiske Mengenai Representasi Berakhirnya Politik Apartheid Dalam Film Invictus Karya Sutradara Clint Eastwood ) ARTIKEL Oleh, IMAR SAVITRI NIM. 41809012 PROGRAM STUDI ILMU KOMUNIKASI KONSENTRASI HUMAS FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS KOMPUTER INDONESIA BANDUNG 2013 ABSTRACT THE REPRESENTATION THE END OF APARTHEID POLITICAL IN INVICTUS MOVIE DIRECTED BY CLINT EASTWOOD GUIDANCE : ADIYANA SLAMET, S.IP, M.SI IMAR SAVITRI INDONESIAN COMPUTER UNIVERSITY This research aims to know the representation The End of Apartheid Political in Invictus movie directed by Clint Eastwood. To achieve that goal then raised the question of how the level of reality, how the level of representation and how the level of ideology in Invictus movie directed by Clint Eastwood. This study used a qualitative approach to analysis of semiotics John Fiske for research methods. Data collection techniques used were the documentation. Technique used for take the category of sequences is using prop narrative function. The data analyze technique using The Codes of Television John Fiske. Result of this research shown that the political apartheid on the level of reality delivered through appereance codes, dress, make-up, environment, gesture, expression and sound. For the level of representation, the political apartheid delivered by camera, lighting, editting, music, character, action, dialogue and conflict. At the level of ideology, from the merger of the levels of reality and levels of representation on three sequence resulting the theory of ideological hegemony Antonio Gramsci is represented through the chacaracterizations Morgan Freeman as Nelson Mandela’s role a hegemonic character. -
Read the Journal
Journal Jesse Bia Professor Peck ENG 252 2/5/2009 Introduction This journal is designed to be both objective and subjective at the same time. The focus of each entry is what I felt the Director’s vision for each particular show, was regardless of the previous histories of representation; the focus is on just the specific versions of the shows we have seen. Once laying out what I believe this vision to be, which is essentially my thesis, I then look at the various aspects of the show which contribute to or detract from the stated vision and goal for each production. Each entry is divided into four parts, the first three of which are meant to be object and thus written in a more academic matter, and last fourth meant to be subjective and thus written slightly less formally. These four parts are as follows: Overall Synopsis and Director’s Vision: In this section I briefly lay out and define what I feel the Director’s vision for the show, and what overall message the show was trying to deliver; essentially, what was the goal of the show itself. Setting: In the setting section I focus on the various sets, props, chronological placement (time in history in which show takes places), lighting, sound, music and even the actual theatre itself, to see how these physical aspects of the show contribute to the overall goal and vision of the show. Audience and Intention: Here I focus on two things. Firstly, who is this show designed for? Adults, children, or both? A certain nationality perhaps? Secondly, I focus on the actor’s performance, their stage directions, and the overall presenting of the play, to see how this contributes to the overall vision and goal of the show. -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc. -
Shakespeare and Gender: the ‘Woman’S Part’
Shakespeare and gender: the ‘woman’s part’ Article written by:Clare McManus Themes:Shakespeare’s life and world, Gender, sexuality, courtship and marriage Published:15 Mar 2016 In Shakespeare's day, female parts were played by male actors, while more recently, actresses have taken on some of his most famous male roles such as Hamlet and Julius Caesar. Clare McManus explores gender in the history of Shakespeare performance. Shakespearean performance is an arena for exploring desire, sexuality and gender roles and for challenging audience expectations, especially when it comes to the female performer. Actresses have long claimed their right to Olympian roles like Hamlet: Sarah Bernhardt’s 1899 performance sits in a long tradition, most recently added to by Maxine Peake in her performance at Manchester’s Royal Exchange in 2014. Bernhardt’s performance divided audiences: this was certainly at least partly to do with the crossing of gender boundaries, with one early London reviewer revealing how polarised ideas of gender could be when he complained that ‘A woman is positively no more capable of beating out the music of Hamlet than is a man of expressing the plaintive and half-accomplished surrender of Ophelia’.[1] That said, it had become increasingly common by the turn of the 20th century for star actresses to take male parts, often called ‘breeches’ roles, and it is possible that one difficulty for London audiences lay in the fact that Bernhardt’s Hamlet was not Shakespeare’s text but a prose translation. Over a century later, Maxine Peake’s interpretation was widely praised, though reviewers still focussed on the presence of a female actor in the role, contextualising it against the rich history of female Hamlets and interrogating the opportunities open to women in theatre in the early 21st century.[2] Postcard of Sarah Bernhardt as Hamlet in 1899 The French actress, Sarah Bernhardt, crossed gender boundaries when she played the male hero in Hamlet. -
Justin Butcher Writer
Justin Butcher Writer Agents Charles Walker Assistant [email protected] Olivia Martin +44 (0) 20 3214 0874 [email protected] +44 (0) 20 3214 0778 Credits Film Production Company Notes WALKING BACK TO The New Theatre, Justin Butcher's and Ahmed Masoud's film will be JERUSALEM Dublin streamed via The New Theatre, Dublin at 9:15pm 2021 from 23rd March - 30th March. Radio Production Company Notes THE DEVIL'S PASSION BBC Radio 3 Written by Justin Butcher 2017 Produced and Directed by Jonquil Panting for BBC Radio 4 Starring David Suchet as Satan, Amir El-Masry as Jesus and Lara Sawalha as Miriam. 33 AD. Jesus enters Jerusalem to fulfil his destiny. Satan ascends from Hell to stop him. The Devil's Passion offers an outrageously entertaining fresh perspective - as the ancient story is played out once more, in our modern world of security, surveillance and ideological warfare. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes ESCAPE FROM GAZA BBC Radio 4 co-written with Palestinian writer Ahmed Masoud, 2011 telling of his perilous journey into Gaza in ‘09, for BBC Radio 4, dir. Jessica Dromgoole, broadcast Jan 13th ‘11 THE PATIENCE OF MR BBC Radio 4 BBC Radio 4, dir. Claire Grove, broadcast Aug ‘10, JOB featuring Jude Akuwudike & Adjoa Andoh; satirical 2010 update of Old Testament fable, set in fictitious West African country devastated by well-intentioned meddling of “development” agencies & climate-change related disasters Pick Of The Day in The Daily Telegraph & The Daily Mail “Nicely played and very funny satire by Justin Butcher.” (The Daily Telegraph) “Funny and deeply tragic.” (The Daily Mail) CHUKWUDEBELU - Big Heart co-written with Nigerian musician Ben Okafor for BBC PRESERVE OF GOD Media / BBC R4, dir. -
A Level Drama and Theatre Studies
A LEVEL DRAMA AND THEATRE STUDIES A LEVEL DRAMA AND THEATRE STUDIES SUMMARY OF ASSESSMENT Component 1: Theatre Workshop Non-exam assessment: Internally assessed, externally moderated - 20% of qualification Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of a piece of theatre based on a reinterpretation of an extract from a text chosen from a list supplied by WJEC. The piece must be developed using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company. Learners must produce: • a realisation of the performance or design • a creative log Component 2: Text in Action Non-exam assessment: externally assessed by a visiting examiner - 40% of qualification Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of two pieces of theatre based on a stimulus supplied by WJEC: 1. a devised piece using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company (a different practitioner or company to that chosen for Component 1) 2. an extract from a text in a different style chosen by the learner. Learners must realise their performance live for the visiting examiner. Learners choosing design must also give a 5-10 minute presentation of their design to the examiner. Learners produce a process and evaluation report within one week of completion of the practical work. Component 3: Text in Performance Written examination: 2 hours 30 minutes 40% of qualification Sections A and B Open book: Clean copies (no annotation) of the two complete texts chosen must be taken into the examination. -
Experience the World As It Should Be
EXPERIENCE THE WORLD AS IT SHOULD BE Festival Programme 2021 30 July – 1 August the Museum of East Anglian Life, Stowmarket, Suffolk 1 CONTENTS INTRODUCING Introduction 3 For Writers 4 PRIMADONNA & THE PRIMADONNAS For the Curious 7 For Fun! 12 The Festival The Founders For Kids 16 Welcome to Primadonna, the UK’s most Primadonna was founded and is run by 17 empowering new festival, set up to spotlight the women from across the worlds of publishing, artistry of women and non-binary people, as well entertainment and the arts. Us ‘Primadonnas’ Event Programme as creatives of all genders, ethnicities and economic wanted to create a festival of brilliant writing, borne status whose voices are not often enough heard. out of a desire to give prominence to work by Friday 18 We focus on writing and reading but we also women and spotlight authors from the margins. showcase the best of the arts, from music to fi lm, We also want you to have a lot of fun: the festival Saturday 20 theatre to comedy. has always been designed to be a thoroughly We call it ‘the world as it should be, for one joyous as well as inclusive and accessible experience. Sunday weekend’. 22 But you know all that: you’re here. And we hope We programme a mix of big names and emerging you’ll agree we’ve put on a programme of amazing talent, as one of the things we’re trying to do is Speakers’ Info 24 speakers, brilliant events and unique experiences. open up the publishing industry and arts/culture more generally to new voices, and new ideas.