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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’: -
04 Part Two Chapter 4-5 Everett
PART TWO. "So what are you doing now?" "Well the school of course." "You mean youre still there?" "Well of course. I will always be there as long as there are students." (Jacques Lecoq, in a letter to alumni, 1998). 79 CHAPTER FOUR INTRODUCTION TO PART TWO. The preceding chapters have been principally concerned with detailing the research matrix which has served as a means of mapping the influence of the Lecoq school on Australian theatre. I have attempted to situate the research process in a particular theoretical context, adopting Alun Munslow's concept of `deconstructionise history as a model. The terms `diaspora' and 'leavening' have been deployed as metaphorical frameworks for engaging with the operations of the word 'influence' as it relates specifically to the present study. An interpretive framework has been constructed using four key elements or features of the Lecoq pedagogy which have functioned as reference points in terms of data collection, analysis and interpretation. These are: creation of original performance material; use of improvisation; a movement-based approach to performance; use of a repertoire of performance styles. These elements or `mapping co-ordinates' have been used as focal points during the interviewing process and have served as reference points for analysis of the interview material and organisation of the narrative presentation. The remainder of the thesis constitutes the narrative interpretation of the primary and secondary source material. This chapter aims to provide a general overview of, and introduction to the research findings. I will firstly outline a demographic profile of Lecoq alumni in Australia. Secondly I will situate the work of alumni, and the influence of their work on Australian theatre within a broader socio-cultural, historical context. -
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. -
Teacher's Notes 2007
Sydney Theatre Company and Sydney Festival in association with Perth International Festival present the STC Actors Company in The War of the Roses by William Shakespeare Teacher's Resource Kit Part One written and compiled by Jeffrey Dawson Acknowledgements Thank you to the following for their invaluable material for these Teachers' Notes: Laura Scrivano, Publications Manager,STC; Tom Wright, Associate Director, STC Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company The Wars of the Roses Teachers Notes © 2009 1 Contents Production Credits 3 Background information on the production 4 Part One, Act One Backstory & Synopsis 5 Part One, Act Two Backstory & Synopsis 5 Notes from the Rehearsal Room 7 Shakespeare’s History plays as a genre 8 Women in Drama and Performance 9 The Director – Benedict Andrews 10 Review Links 11 Set Design 12 Costume Design 12 Sound Design 12 Questions and Activities Before viewing the Play 14 Questions and Activities After viewing the Play 20 Bibliography 24 Background on Part Two of The War of the Roses 27 Sydney Theatre Company The Wars of the Roses Teachers Notes © 2009 2 Sydney Theatre Company and Sydney Festival in association with Perth International Festival present the STC Actors Company in The War of the Roses by William Shakespeare Cast Act One King Richard II Cate Blanchett Production -
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). -
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 -
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. -
1 Sydney Theatre Company Annual Report 2014
Sydney Theatre Company Annual Report 2014 1 Kate Box, Melita Jurisic, Robert Menzies, Hugo Weaving, Ivan Donato, Eden Falk, Paula Arundell and John Gaden in Macbeth. Photo: Brett Boardman Aims of the Company To provide first class theatrical entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, challenging and fun. That entertainment should reflect the society in which we live thus providing a point of focus, a frame of reference, by which we come to understand our place in the world as individuals, as a community and as a nation. Richard Wherrett, 1980 Founding Artistic Director 5 2014 in Numbers ACTORS AND CREATIVES 237 EMPLOYED $350,791 C R 12TEACHING TIX OF TI KET P ICE TIX SAVINGS PASSED ON TO ARTISTS 733 4,877 SUNCORP TWENTIES CUSTOMERS EMPLOYED REGIONAL $20.834M AND INTERSTATE TOTAL TICKET PERFORMANCES INCOME EARNED WORLD 6PREMIERES 1,187 WEEKS PLAYWRIGHTS AVERAGE OF WORK 9 ON COMMISSION CAPACITY FOR ACTORS 6 7 David Gonski Andrew Chairman Upton In the last four annual reports, I have reported on work undertaken by the organisation to modernise operations and governance structures to best support the Company’s artistic aspirations into the Artistic Director future. Most recently, in 2013, I wrote about the security of 45 year leases over the Roslyn Packer Theatre (formerly Sydney Theatre) and James Duncan in The Long Way Home. Richard Roxburgh in Cyrano de Bergerac. our tenancy at The Wharf, and the subsequent winding up of New Photo: Lisa Tomasetti 2014 was a year that brought the Company together through thick Photo: Brett Boardman South Wales Cultural Management, the body that had previously and thin. -
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. -
The Death & Life of Otto Bloom
Written and Directed by Cris Jones An Optimism Film Production Produced by Melanie Coombs, Alicia Brown and Mish Armstrong Australian Distributor Bonsai Films: Jonathan Page Duration: 84 mins Shot on Arri Alexa, Super 8, digital and analogue video, stills Format - DCP Aspect ratio – 2.39:1 Contents: Synopses: page 3 Director Bio and Filmography page 4 Directors Statement page 5 Producers Bio and Statement page 6 Lead Cast Biographies page 7 Supporting Cast Bios page 8 ABOUT the production page 9 Technical details page 12 Full Credits page 13 CONTACTS: Producer MIFF Publicity Melanie Coombs Asha Holmes +61 (0)412 304 212 + 61 (0)403 274 299 [email protected] [email protected] Australian Distributor International Sales Jonathan Page Bonsai Films +61(0)404 004 994 [email protected] www.ottobloom.com https://www.facebook.com/thedeathandlifeofottobloom/ SYNOPSES TAG LINE Who is Otto Bloom? SHORT SYNOPSIS The chronicle of the life and great love of Otto Bloom, an extraordinary man who experiences time in reverse – passing backwards through the years while remembering the future. SYNOPSIS The Death & Life of Otto Bloom chronicles the life and great love of an extraordinary man who experiences time in reverse – wandering blindly into the past, while remembering the future. The film charts Bloom's rise from scientific oddity to international superstar as he searches for love and meaning in this strange, backwards world. Over the years, he has a string of romances while challenging our preconceived notions about life, death and the nature of time. When the world proves to be not yet ready for Bloom's radical ideas, his fall from grace is as swift as it is tragic. -
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. -
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.