DOCSLIB.ORG

This Summary Is Part of Research on Performance Training in Australia Undertaken by Professor Peta Tait and Dr Melanie Beddie in 2017 Funded by La Trobe University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Summary Is Part of Research on Performance Training in Australia Undertaken by Professor Peta Tait and Dr Melanie Beddie in 2017 Funded by La Trobe University This summary is part of research on performance training in Australia undertaken by Professor Peta Tait and Dr Melanie Beddie in 2017 funded by La Trobe University. It researched the influences on, and the training of, prominent teachers working within key training institutions circa 1980 to 2010. Lindy Davies Lindy Davies is an actor, director and actor trainer. She was Head of Acting at Victorian College of the Arts (VCA) from 1979 to 1982 working alongside Peter Oysten, the founding Dean. She returned as Head of Drama from 1995 to 2006. She gained an MA from New York University and was taught by Richard Schechner and others. Davies is recognised for her innovative teaching of acting and directing. She is outspoken about her disinterest in American interpretations of Stanislavski and focuses instead on the actor’s breath and impulse, and finding an imaginative connection to language. After studying at Monash University and training as a drama teacher at Melbourne State College in the 1960s, she developed a series of drama workshops for children at the Carlton Council flats using a combination of her own experiences and the teaching processes of Dorothy Heathcote. Davies helped form the La Mama Experimental Theatre Company, which later became the Australian Performing Group (APG) at the Pram Factory Theatre. In 1976, she travelled overseas to study with Kristin Linklater and Cicely Berry, and it was with these teachers Davies discovered the importance of connecting to impulse, breath and to language. She also attended a workshop with Teo Spycalski, a colleague of Jerzy Grotowsk. Whilst overseas Davies participated in a workshop with Peter Brook and Yoshi Oida whose work confirmed for her the need for artistic collaboration during the rehearsal process. On her return to Australia at the end of 1978 she was able to briefly work with dancer and choreographer Mary Fulkerson who was visiting Melbourne State College. This work consolidated her thinking about the actor in space. While in France she also worked with Peter Brook. Another important collaborator was the director Rex Cramphorn with whom Davies worked on a number of productions including playing Cleopatra in Shakespeare’s Antony and Cleopatra in 1983. She now directs productions and gives master classes for actors and for film directors in Australia and internationally. Teachers Workshop Teachers Richard Schechner Peter Brook, Yoshi Oida Cicely Berry Mary Fulkerson, Teo Spycalski Kristin Linklater Lindy Davies Book Drama in Education Teaching and Leadership by Dorothy Heathcote VCA Head of Acting VCA Head of Drama NIDA classes Theatre Company Colleague Working with APG, Melbourne Rex Cramphorn Diagram ©M.Beddie 2018 The purpose of this study was to investigate the effects of including 30-s sprints in one weekly low-intensity training (LIT) session during a 3-week transition period in elite cyclists. Sixteen male elite cyclists (maximal oxygen uptake, VO2max: 72 ± 5 ml·kg−1·min−1) reduced their training load by ~60% for 3 weeks from the end of competitive season and performed only LIT or included 30-s sprints (SPR) in one weekly LIT-session. Performance and physiological capacities were evaluated during a prolonged (~2.5 h) test-session, including a strength test, a submaximal blood lactate profile test, a "Lindy Davies’ fine production …. She has drawn from an excellent cast high-quality performances of clarity and humour. Jenny Tate’s set is ravishing, especially in the lovingly slow transformations between acts… then there's the divine Angie Milliken as a Natalya full of contradictions: delicately strong; sentimentally manipulative; tough, fragile and beautiful; and innocently cruel. This sort of production is why we have big State Theatre Companies, with the resources to take on such a classic and get it right." - The Australian. "Directed by Lindy Davies who takes an inquiring organic appro Prior research indicates that many international students from Asia, studying in Australia, face serious learning difficulties and lack confidence in speaking and taking a proactive role in classrooms. The paper reports on data gathered in interviews with students from five This phenomenon is in serious contradiction to the notion that the major goal of all English language teaching should enhance learners' ability to use English effectively and accurately in communication (Davies & Pearse, 2000). Other studies indicated that regardless of their length of study in the foreign country, most of the ESL learners still felt challenged when utilizing English for academic work (Lee, 2009;Sawir, 2005). Lindy Davies (29 August 1946) is an Australian actress, director, actor trainer and performance consultant. She played Ruth Ballinger in the Australian soap opera Prisoner in 1985, and won the AFI (AACTA) Award for Best Supporting Actress for the 1986 film Malcolm. Lindy Davies has developed an approach to performance: a process; which is an intuitive imaginative connection to language, space and transformation. She has worked as a Performance Advisor/Consultant on many films including The National Institute of Dramatic Art (NIDA) is Australia's leading centre for education and training in the performing arts. Founded in 1958, NIDA uses a conservatoire model, where students learn through practical experience, working on real productions..
Load more

Recommended publications
  • Issue 17 Ausact: the Australian Actor Training Conference 2019
    www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’:
    [Show full text]
  • The Australian Theatre Family
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him.
    [Show full text]
  • Sugar Babies - the Quintessential Burlesque Show
    SEPTEMBER,1986 Vol 10 No 8 ISSN 0314 - 0598 A publication of the Australian Elizabethan Theatre Trust Sugar Babies - The Quintessential Burlesque Show personality and his own jokes. Not all the companies, however, lived up to the audience's expectations; the comedians were not always brilliant and witty, the girls weren't always beautiful. This proved to be Ralph Allen's inspiration for SUGAR BABIES. "During the course of my research, one question kept recurring. Why not create a quintessen­ tial Burlesque Show out of authentic materials - a show of shows as I have played it so often in the theatre of my mind? After all, in a theatre of the mind, nothing ever disappoints. " After running for seven years in America - both in New York and on tour - the Australian Elizabethan Theatre Trust will mount SUGAR BABIES in Australia, opening in Sydney at Her Majesty's Theatre on October 30. In February it will move to Melbourne and other cities, including Adelaide, Perth and Auckland. The tour is expected to last about 39 weeks. Eddie Bracken, who is coming from the USA to star in the role of 1st comic in SUGAR BABIES, received rave reviews from critics in the USA. "Bracken, with his rolling eyes, rubber face and delightful slow burns, is the consummate performer, " said Jim Arpy in the Quad City Times. Since his debut in 1931 on Broadway, Bracken has appeared in Sugar Babies from the original New York production countless movies and stage shows. Garry McDonald will bring back to life one of Harry Rigby, happened to be at the con­ Australia's greatest comics by playing his SUGAR BABIES, conceived by role as "Mo" (Roy Rene).
    [Show full text]
  • Oshea Sean.Pdf
    sue barnett & associates SEAN O’SHEA TRAINING 1989 WAPPA 1986 Bachelor of Arts, UNSW THEATRE The Miser La Fleche/Signor Anselm Bell Shakespeare Company/ Melbourne Theatre Company Dir: Peter Evans Saint Joan Chaplain John de Stogumber Sydney Theatre Company Dir: Imara Savage Darlinghurst Nights Ken Hayes Theatre Dir: Lee Lewis Dinner Lars Sydney Theatre Company Dir: Imara Savage The Rasputin Affair Rasputin Ensemble Theatre Dir: John Sheedy A Flea in Her Ear Dr Finache/Baptistin Sydney Theatre Company Dir: Simon Phillips Tribes Christopher Ensemble Theatre Dir: Susanna Dowling Hamlet Claudius/Ghost Bell Shakespeare Company Dir: Damien Ryan Tartuffe Orgon Bell Shakespeare Company Dir: Peter Evans Rupert (US) Older Rupert Kennedy Center, Washington/ Melbourne Theatre Company Dir: Lee Lewis Rupert Older Rupert Melbourne Theatre Company Dir: Lee Lewis Henry IV Worcestor/Shallow/Traveller Bell Shakespeare Company Dir: John Bell Mariage Blanc Father Sydney Theatre Company Dir: Sarah Giles The Duchess of Malfi The Judge Bell Shakespeare Company Dir: John Bell The Libertine King Charles ll Darlinghurst Theatre Company Dir: Damien Ryan Much Ado About Nothing Don John Bell Shakespeare Company Dir: John Bell The Crucible Danforth Sydney Theatre Company Dir: Tanya Goldberg Macbeth Macbeth Bell Shakespeare Company Dir: John Bell Measure for Measure The Duke Bell Shakespeare Company Dir: John Bell Scenes from a Separation Darcy Sydney Theatre Company Dir: Robyn Nevin As You Like It Jacques Bell Shakespeare Company Dir: Lindy Davies The Cavalcaders Ted
    [Show full text]
  • Languaging the Actor
    LANGUAGING THE ACTOR AN EXAMINATION OF THE TERMINOLOGY USED IN ACTOR TRAINING Bernadette Anne Pryde Diploma of Teaching Graduate Diploma in Dramatic Art in Voice Studies Faculty of Creative Industries Queensland University of Technology Submitted for the award of Master of Arts (Research) 2002 FORMALIA KEYWORDS The following is a list of keywords that appear within the thesis, or are associated with the thesis topic. These keywords have been listed for cataloguing purposes. Keywords that apply to this study are: acting; actor training; Australian actor training; grounded theory; and language. i ABSTRACT Throughout the twentieth century increased interest in the training of actors resulted in the emergence of a plethora of acting theories and innovative theatrical movements in Europe, the UK and the USA. The individuals or groups involved with the formulation of these theories and movements developed specific terminologies, or languages of acting, in an attempt to clearly articulate the nature and the practice of acting according to their particular pedagogy or theatrical aesthetic. Now at the dawning of the twenty- first century, Australia boasts quite a number of schools and university courses professing to train actors. This research aims to discover the language used in actor training on the east coast of Australia today. Using interviews with staff of the National Institute of Dramatic Art, the Victorian College of the Arts, and the Queensland University of Technology as the primary source of data, a constructivist grounded theory has emerged to assess the influence of last century‟s theatrical theorists and practitioners on Australian training and to ascertain the possibility of a distinctly Australian language of acting.
    [Show full text]
  • North Had Scheme to Divert
    11111 KNCH ter, CT the Fe- ibllsh a rhe Fe- I In de- the re- it local lils ap - itlantlc 30 Cents period Saturday. Dec. 20,1986 lewhot :atlons >rocet- 262.25. u need on the nt and lank of III con- leetlna ved bv NORTH HAD mment NO K SCHEME TO itrv will for the new % ruck at 2 M ain I. 06238 irv 5th, d place led and itrv re- DIVERT $$$ olve all bidding It not ' lowest WASHINGTON (A P) - Lt. Col. North was fired by Reagan on Nov. 25. nstruc- Oliver L. North wrote an undated memo But one committee member, who Ion Re- for his White House files outlining the listened to Meese’s testimony, said be ob- pian to divert to Nicaragua’s contra North had only fragmentary knowledge ot the ad bury rebels profits from secret arms sales to of how much money might have been Phone; Iran, a source close to the House realized in profits on the arms sales and Intelligence committee said Friday. how much of that might have reached TRY the contras. 6 At the same time, Attorney General >E JR., Edwin Meese III, following testimony to The member. Rep. George Brown. the House panel, revealed that North, on D-Calif.. said Meese told the committee the weekend of Nov. 22-23, had told him that his original estimate that between that President Reagan did not know of $10 million and $30 million in arms sales the transfer of arms sales proceeds to profits had been diverted to the contras the contras.
    [Show full text]
  • Than Common Tall”—Much Taller Than Kirstie Hutton’S Celia and Noticeably Taller Than Aaron Blabey’S Orlando
    ‘MORE THAN CO mm ON TALL ’: MEASURING UP T O T HE ‘REAL ’ ROSALIND IN AUS T RALIA KA T E FLAHER T Y UNIVERSI T Y O F SYDNEY Discourse which trades in notions of ‘real’ versions of any Shakespeare character ignores the con- ditions of specific and ephemeral embodiment—being there—which make meaning possible in dramatic performance. Yet theatre reviews of As You Like It evince a pattern of measuring all perfor- mances of Rosalind by the same yardstick—the ‘real’ Rosalind. While there is no ‘real’ Hamlet and no ‘real’ Macbeth enshrined in the collective imagination—these characters thrive on being re-inter- preted by their times and contexts—the myth of a ‘real’ Rosalind, is particularly tenacious and, par- ticularly problematic. Performances of Rosalind are evaluated as participating in (good) or diverging from (bad) a legacy that stretches back to Shakespeare’s own time and by extension to the authority of ‘Shakespeare’s imagination’. The problem with this mode of discourse is that As You Like It is a play for which there is scant evidence of performance before 1723. Even at this date it was brought back to the stage—or rather brought to the vastly different stage of Drury Lane—in a jumbled appropriation called Love in a Forest that included excerpts from many of Shakespeare’s plays.1 There is no continuity from Shakespeare’s period to the present when it comes to Rosalind. Rather, the sensibilities which unwittingly inflect reviews of the role in performance, even in twenty-first-century Australia, can be traced to those of the period of the play’s first known theatre outing.
    [Show full text]
  • Harriet Walter
    www.hamiltonhodell.co.uk Harriet Walter Talent Representation Telephone Christian Hodell +44 (0) 20 7636 1221 [email protected], Address [email protected], Hamilton Hodell, [email protected] 20 Golden Square Elizabeth Fieldhouse London, W1F 9JL, [email protected] United Kingdom Television Title Role Director Production Company Caroline, Countess of Carnival Film & BELGRAVIA John Alexander Brockenhurst Television/Epix/ITV Jessica M. Thompson/Jonathan THE END Edie Henley See Saw Films/Sky Atlantic Brough THE SPANISH PRINCESS Margaret Beaufort Birgitte Stærmose All3 Media/Starz SUCCESSION Series 1 & 2 Nominated for the Best Guest Actress in a Drama Series Award, Lady Caroline Collingwood Various HBO Primetime Emmy Awards, 2020 PATRICK MELROSE Princess Margaret Edward Berger Showtime/Sky Atlantic BLACK EARTH RISING Eve Ashby Hugo Blick BBC/Netflix FLOWERS Hylda Will Sharpe Kudos/Channel 4 CALL THE MIDWIFE Sister Ursula Various BBC BLACK SAILS Marilyn Guthrie Robert Levine Starz THE CROWN Clementine Churchill Stephen Daldry Netflix LONDON SPY Claire Jakob Vebruggen BBC THE ASSETS Jeanne Vertefeuille Various ABC DOWNTON ABBEY Lady Shackleton Various Carnival LAW AND ORDER: UK Natalie Chandler Various Kudos BY ANY MEANS Sally Walker Menhaj Huda Red Planet Productions HEADING OUT Angela Natalie Bailey Red Production Company Oxford Film & Television/BBC SIMON SCHAMA'S SHAKESPEARE Actress Ashley Gething Worldwide THIS SEPTEMBER Isobel Balmerino Giles Foster Gate Television HUNTER ACC Jenny Griffin Colm McCarthy BBC A SHORT STAY IN SWITZERLAND Clare Simon Curtis BBC LITTLE DORRIT Mrs. Gowan Dearbhla Walsh/Adam Smith BBC AGATHA CHRISTIE'S POIROT: CAT AMONGST THE Mrs Bulstrode James Kent ITV PIGEONS 10 DAYS TO WAR Anne Campbell David Belton BBC BALLET SHOES Dr.
    [Show full text]
  • Terence Crawford
    TERENCE CRAWFORD TRAINING 1984 Graduated NIDA Acting Course THEATRE The Writer The Director Sydney Theatre Company Dir: Jessica Arthur Limit Carl Jefferson Bakehouse Theatre Dir: Shannon Rush Welcome The Bright World Max House Of Sand Dir. Charles Sanders 1984 (Auckland/Singapore Festival) O’Brien GWB Entertainment Dir. Corey McMahon Romeo & Juliet Capulet, Nurse, Tybalt State Theatre Co SA Dir: Corey McMahon 1984 O’Brien State Theatre Co SA Dir: Corey McMahon Mendelssohn’s Dream Theseus, Oberon State Theatre Co SA Dir: Geordie Brookman The Seagull Dr Dorn State Theatre Co SA Dir: Geordie Brookman Hedda Gabler Brack State Theatre Co SA Dir: Geordie Brookman Speaking in Tongues Peter, Neil, John State Theatre Co SA Dir: Geordie Brookman Romeo & Juliet Capulet State Theatre Co SA Dir: Geordie Brookman Blackbird Ray Flying Penguin Productions Dir: David Mealor The Hypochondriac Beralde Brink Productions Dir: Chris Drummond King Lear Albany State Theatre Co SA Dir: Adam Cook Attempts on Her Life various State Theatre Co SA Dir: Geordie Brookman Gary’s House Dave Playbox and Q Theatre Dir: Kim Durbin Search and Destroy Waxling New Theatre Dir: Brendon McDonall Six Characters in Search of an Author actor Sydney Theatre Co. Dir: Rodney Fischer The Barretts of Wimpole Street Octavius Marian Street Dir: Aubrey Mellor TERENCE CRAWFORD P a g e | 2 THEATRE (continued). Twelfth Night Orsino HVTC Dir: Brent MacGregor Table for One actor New England TC & HVTC Dir: Clare Hayward Thyestes Tantalus, messenger Sons of the Desert Dir: Roger Joyce The Imaginary Invalid Beralde NIDA Co. Dir: Rex Cramphorn Macbeth various NIDA Co.
    [Show full text]
  • Sue Barnett & Associates
    sue barnett & a s s o c i a t e s ANGELA PUNCH McGREGOR FILM SAVAGES CROSSING Sue Dir: Kevin Dobbs TOM WHITE Irene Dir: Alkinos Tsilimidos ASH WEDNESDAY Joan Dir: Jason Tolsher (AFTRS) CHANT OF JIMMY BLACKSMITH Gilda Dir. Fred Schepisi NEWSFRONT Fay Dir. Phil Noyce THE ISLAND Dir. Michael Ritchie THE SURVIVOR Beth Dir. David Hemmings DOUBLE DEAL Christina Dir. Brian Cavanagh BEST OF FRIENDS Melanie Dir. Michael Robertson WE OF THE NEVER NEVER Jeannie Gunn Dir. Igor Auzins ANNIE’S COMING OUT Jessica Dir. Gil Breeley THE DELINQUENTS Mrs Lovell Dir. Chris Thompson SPOTSWOOD Caroline Dir. Mark Joffe TERRA NOVA Margie Dir. Paul Middleditch TELEVISION TROPPO Dr Val Gratteur EQ Media/Beyond Entertainment Dir: Jocelyn Moorehouse MARY: THE MAKING OF A PRINCESS Queen Margarethe Fremantle Media Dir: Jennifer Leacy THE PRINCIPAL Sue Langworthy Essential Media and Entertainment Dir: Kriv Stenders LOVE MY WAY Angela Southern Star Productions WHITE COLLAR BLUE Win Absolom Knapman Wyld Television ALL SAINTS (6 Eps.) Carmen Amalgamated Television Services BAD COP BAD COP Mrs Bowers West Street Productions No. 1 P/L LA BOHEME Mimi ABC TV TIMELESS LAND Ellen ABC TV A DAY IN THE LIFE Pilot DOUBLE SCULLS Edwina PBL Productions Dir. Ian Gilmour TUSITALA (Mini-series) Fanny ABC TV Dir. Don Sharp WHOSE BABY? Gwen Crawford Productions ALTERATIONS Ann ABC TV RAFFERTY’S RULES Christine Stanton ATS 7 HOME & AWAY Ras Parrish ATS 7 HALIFAX Anthea Bower Simpson Le Mesurier Films LAW OF THE LAND Angela Goodman Roadshow Coote & Caroll Dir. Ian Watson FIRE II Pru Eberhardt Beyond Pty Ltd/ Seven Network Operations Dir.
    [Show full text]
  • Acting and Essence
    ACTING AND ESSENCE Experiencing Essence, Presence and Archetype in the Acting Traditions of Stanislavski and Copeau ASHLEY WAIN DOCTOR OF PHILOSOPHY 2005 UNIVERSITY OF WESTERN SYDNEY ©Ashley Wai 2005 ACKNOWLEDGEMENTS I would like to ack owledge my debt to the ma y people who ha,e co tributed this thesis a d the research o which it is based, particularly/ • Those pio eers who first formulated acti g as a serious artform a d spiritual e dea,our i moder Wester theatre. amely Sta isla,ski. 1ichael Chekho,. 1aria 2 ebel. Copeau. Grotowski a d Peter 3rook. a d those who keep this traditio ali,e. i cludi g Le, Dodi . Leco4 a d his artistic desce de ts a d ma y others. Also Sharo Car icke. 3ella 1erli . 6ea 3e edetti. Richard Tar as a d 6orge Ferrer. to whom my research owes a sig ifica t i tellectual debt. a d A.H. Almaas a d Sta isla, Grof. to whom I owe a i estimable i tellectual. spiritual a d perso al debt. To spe d time i the compa y of the writi gs a d practices of such fi e mi ds. a d such e7traordi ary souls. has bee o e of the true pleasures a d pri,ileges of u dertaki g this research. I hope that I here do 8ustice to the traditio s they represe t a d co tribute to the u foldi g life of those traditio s i positi,e ways. • The staff a d stude ts of the Victoria College of the Arts School of Drama.
    [Show full text]
  • Disappearing ACT
    ONWARd ANd UpWARd WiTH THE ARTs disAppEARiNG ACT Cate Blanchett branches out. BY jOHN lAHR n Sydney, Australia, on the bright, most of her fans have come to know her. blustery morning of November 10th, Blanchett’s list of twenty-seven movies towardI the end of Pier 4, a “finger wharf” is notable for both its range and its am- that reaches out two hundred yards into bition. In her most recent collection of the harbor and houses the Sydney The- character studies, she plays a predatory atre Company, a little bit of show-biz Nazi collaborator (Steven Soderbergh’s history took place. There, inside a cav- “The Good German”), an American ernous former wool storehouse—now a tourist who is shot in Morocco (Ale- dusty gray rehearsal room—amid a clus- jandro González Iñárritu’s “Babel”), a ter of cameras, lights, and local journalists, British schoolteacher who has an affair the actress Cate Blanchett and her hus- with a fifteen-year-old student (Rich- band, the playwright Andrew Upton, an- ard Eyre’s “Notes on a Scandal,” a per- nounced their appointment as co-artistic formance for which she was just nom- directors of the S.T.C., Australia’s most inated for an Academy Award), and a prestigious theatre, which operates three version of Bob Dylan, complete with big stages. Theatre history is studded with hair and sideburns (Todd Haynes’s “I’m examples of renowned actor-managers— Not There”). “I wanted to be him,” Blan- Molière, Shakespeare, and Sir Laurence chett said of the singer. “It’s the first time Olivier come to mind—but never before I ever had that feeling.
    [Show full text]