DOCSLIB.ORG

Review of Television Advertising and Teleshopping Regulation – Stage Two Rules on the Amount and Frequency of Advertising

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Review of Television Advertising and Teleshopping Regulation – Stage Two Rules on the Amount and Frequency of Advertising Review of television advertising and teleshopping regulation – Stage Two Rules on the amount and frequency of advertising Consultation Publication date: 7 October 2008 Closing Date for Responses: 11 December 2008 Review of television advertising and teleshopping regulation – Stage Two Contents Section Page 1 Summary 1 2 Background 4 3 Amount of advertising 10 4 Number and length of advertising breaks 22 5 Teleshopping 33 Annex Page 1 Responding to this consultation 41 2 European framework for advertising regulation 47 3 Code on the Scheduling of Television Advertising 51 4 Responses on advertising minutage, frequency and teleshopping scenarios 55 5 Impact Assessment 59 6 Distribution of minutage on the main commercial PSB channels 118 Review of television advertising and teleshopping regulation – Stage Two Section 1 1 Summary Ofcom’s review 1.1 Following changes to the European framework of advertising regulation as set out in the Audio Visual Media Services (AVMS) Directive (see Annex 2), Ofcom decided to carry out a comprehensive review of its Rules on the Amount and Distribution of Advertising (RADA). In general, these changes widen the discretion available to Ofcom in setting rules that apply to channels licensed in the United Kingdom. Broadly speaking, the framework allows Ofcom to impose the same or stricter rules to channels licensed in the UK. However, Ofcom’s rules may not be any more permissive than is allowed by the regulatory framework. Stage One 1.2 We published Stage One of the review in March 20081, and invited comments on proposals for simplified and liberalised rules on the scheduling (or ‘distribution’) of television advertisements. In a statement published in July 20082, we set out our conclusions, and announced that the new Code on the Scheduling of Television Advertising (COSTA) would replace RADA with effect from 1 September 2008. 1.3 Alongside Stage One of the review, we summarised the issues to be tackled in Stage Two of the review3, including whether there should be changes to the rules on the amount of advertising, on the number and length of advertising breaks, and on the amount of teleshopping. The purpose of this was to ask interested parties if we had identified the appropriate range of options to include within the Stage Two consultation, and whether the suggested approach to assessing the impact of these options was reasonable. Stage Two 1.4 We have taken the views of respondents (Annex 4) into account in framing the Stage Two consultation, and in refining our assessment of the impact of different options. We have also had regard to the outcome of deliberative research that we commissioned into the attitudes of viewers towards possible changes to regulation4. Clearly, there are many possible permutations of the options open to Ofcom. We have identified several main options that are set out in sections 3, 4 and 5. Ofcom will consider any other variations suggested in response to this consultation. Amount of advertising 1.5 In section 3, we set out a broad range of regulatory options for: 1 Review of advertising and teleshopping regulation, March 2008, Ofcom (http://www.ofcom.org.uk/consult/condocs/rada/rada.pdf) (‘March 2008 document’) 2 Code on the Scheduling of Television Advertising - Revised rules on the scheduling of advertisements, July 2008, Ofcom (http://www.ofcom.org.uk/consult/condocs/rada/statement/) (‘July 2008 statement’). 3 Section 7 of Review of advertising and teleshopping regulation. 4 UK viewers’ attitudes towards potential changes to advertising regulation [‘deliberative research’](Holden Pearmain / Ofcom), October 2008 (http://www.ofcom.org.uk/consult/condocs/rada08/research.pdf) 1 Review of television advertising and teleshopping regulation – Stage Two a) overall limits on the amount of advertising on both PSB (public service broadcasting) and non-PSB channels, ranging from a reduction of advertising on non-PSB channels, to an increase in advertising on all channels to the maximum minutage permitted by the European regulatory framework; and b) rules on the amount of advertising during peak hours on PSB channels, ranging from the status quo to an increase. 1.6 So far, almost all stakeholder groups who responded, including most viewers, broadcasters, advertising agencies and advertisers, have expressed opposition to the idea of more advertising on television. As explained in section 3, our preference is to maintain the status quo on the overall amount of advertising on television, although we shall consider all representations and relevant factors before reaching a decision. We have not expressed a preference as regards rules on the amount of advertising during peak hours on PSB channels. 1.7 Section 3 also sets out proposals to end the designation of the 7am to 9am period as ‘peak-time’ on PSB channels, and to apply the same rules to this period as to other non-peak periods. Number and length of advertising breaks 1.8 Section 4 discusses options for rules on the number of advertising breaks within programmes, ranging from the status quo, to an increase in the number of breaks in programmes of 60 minutes or more. We also seek views on whether more breaks should be allowed in programmes of autonomous parts (e.g. magazine-type programmes, where the content of one section is not linked to that of another). However, we are not including the option of no regulation. We consulted in the March 2008 document on whether there should be limits on the number of breaks, and in our July 2008 statement, we concluded that there should be. 1.9 We also set out options for rules on the length of internal advertising breaks on PSB channels, ranging from a reduction in the permitted duration of breaks, through the status quo, to no rules at all. We have not expressed a preference for any particular option. Teleshopping 1.10 In section 5, we set out options for rules on the amount of teleshopping permitted on both PSB and non-PSB channels, ranging from the status quo (a maximum allowance of 3 hours a day on non-PSB channels, but no allowance for PSB channels), through partial deregulation, to full deregulation, under which channels would be allowed to schedule as much or as little teleshopping as they wished. 1.11 We also draw attention to the implications of: a) changes in the interpretation of European law, which may mean that quiz TV, adult chat services and psychic services (currently regarded as editorial content) are more appropriately treated as teleshopping; and b) changes to the law in Great Britain (but not Northern Ireland), which may mean that transactional gambling services (including gaming and betting) are more appropriately considered to be teleshopping, and which will mean that, within the next few months, existing transactional gambling content (whether individual programmes or channels) will be required to be operated as teleshopping. 2 Review of television advertising and teleshopping regulation – Stage Two 1.12 We explain in section 5 that we have a preference for removing the rules applying to non-PSB channels, and allowing PSB channels to have a teleshopping allowance, limited to times when audiences are relatively small. Next steps 1.13 We would welcome views from any interested stakeholders, including viewers, broadcasters and advertisers before the consultation closes on 11 December 2008. More details of how to respond and the specific questions we are asking are set out in Annex 1, as well as in sections 3, 4, 5 and Annex 5. 1.14 We shall consider the responses and other relevant considerations before deciding on the appropriate way forward. This may include an option or options that differ in some respects from those set out in this document. The statement we intend to publish in the first quarter of 2009 will set out our reasoning. 1.15 As indicated in the March 2008 document, Ofcom expects that any changes to the overall amount of television advertising would be implemented with effect from 1 January 2010, to allow time for the repercussions to be taken into account in the annual negotiations between broadcasters and media buyers. This would include any changes to rules on peak time minutage on PSB channels that might increase significantly the volume of commercial impacts, and hence have similar repercussions. 1.16 However, as none of the options for changes to the distribution of peak time minutage, to the number and length of advertising breaks or the amount of teleshopping would oblige broadcasters to change their existing arrangements, nor result in a change in the overall amount of advertising minutage permitted on television channels, we see no reason to delay implementation of any changes in these areas. Accordingly, if we decide that changes in these areas are warranted, we intend that they should come into effect shortly after publication of the final statement. 1.17 A copy of this document in a format suitable for use by screen readers has been posted on Ofcom’s website. Ofcom can also provide documents to individuals in alternative formats (e.g. Braille, audiotape or large print) on request. We may also provide translations of documents into languages other than English. To request non- standard versions of documents, please contact the Ofcom Contact Centre at [email protected], by phone at 0845 456 3000 or 020 7981 3040, or by textphone at 0845 456 3003. Please note that the time needed to produce an alternative format document will depend on the length of the document. 3 Review of television advertising and teleshopping regulation – Stage Two Section 2 2 Background Review of advertising regulation 2.1 Following changes to the European framework of advertising regulation as set out in the Audio Visual Media Services (AVMS) Directive, Ofcom decided to carry out a comprehensive review of its Rules on the Amount and Distribution of Advertising (RADA).
Load more

Recommended publications
  • Chapter 4: Acting
    096-157 CH04-861627 12/4/03 12:01 AM Page 96 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 4 Acting No role is too small. In this scene from Julius Caesar, the varied responses of the crowd members to Caesar’s death give the scene more depth. One can see Mark Antony, played by Al Pacino, judging the crowd’s mood and planning how to manipulate it. cting is a question of absorbing other Apeople’s personalities and adding some of our own experience. —PAUL NEWMAN, ACTOR 96 096-157 CH04-861627 12/4/03 12:02 AM Page 97 SETTING THE SCENE Focus Questions What special terminology is used in acting? What are the different types of roles? How do you create a character? What does it mean to act? Vocabulary emotional or straight parts master gesture subjective acting character parts inflection technical or objective acting characterization subtext leading roles primary source substitution protagonist secondary sources improvisation antagonist body language paraphrasing supporting roles So now you’re ready to act! For most students of drama, this is the moment you have been waiting for. You probably share the dream of every actor to create a role so convincing that the audience totally accepts your character as real, for- getting that you are only an actor playing a part. You must work hard to be an effective actor, but acting should never be so real that the audience loses the theatrical illu- sion of reality. Theater is not life, and acting is not life. Both are illusions that are larger than life.
    [Show full text]
  • The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter
    Ben Ferber The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter I have no doubt that history will recognize Harold Pinter as one of the most influential dramatists of all time, a perennial inspiration for the way we look at modern theater. If other playwrights use characters and plots to put life under a microscope for audiences, Pinter hands them a kaleidoscope and says, “Have at it.” He crafts multifaceted plays that speak to the depth of his reality and teases and threatens his audience with dangerous truths. In No Man’s Land, Pinter has Hirst attack Spooner, who may or may not be his old friend: “This is outrageous! Who are you? What are you doing in my house?”1 Hirst then launches into a monologue beginning: “I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were.”2 Pinter never fully resolves Spooner’s identity, but the mens’ actions towards each other are perfectly clear: with exacting language and wit, Pinter has constructed a magnificent struggle between the two for power and identity. In 1958, early in his career, Pinter wrote The Hothouse, an incredibly funny play based on a traumatic personal experience as a lab rat at London’s Maudsley Hospital, proudly founded as a modern psychiatric institution, rather than an asylum. The story of The Hothouse, set in a mental hospital of some sort, is centered around the death of one patient, “6457,” and the unexplained pregnancy of another, “6459.” Details around both incidents are very murky, but varying amounts of culpability for both seem to fall on the institution’s leader, Roote, and his second-in- command, Gibbs.
    [Show full text]
  • Edition 3 | 2018-2019
    2018-2019 SEASON Letter from the Chairman 7 Letter from the CEO 9 Legally Blonde The Musical 10 Tap Dogs 22 Palace Theater Staff Directory 35 Program information for tonight’s presentation inside. The Palace would like to thank all of its Program advertisers for their support. ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2019. All rights reserved. Printed in the U.S.A. letter from the chairman s Chairman of the Board of Directors for the Palace A Theater, I am grateful for the opportunity to serve this organization, and enthusiastic about its future. Committed to fostering the Palace’s success, the Board of Directors is currently working on a new three-year Strategic Business Plan, which will chart out the artistic, organizational, and financial goals for the theater. Focusing on expanded arts and educational programming, marketing, capital projects, and financial development, the objective of the plan is to continue expanding our current entertainment initiatives and ensure financial sustainability and growth for the Palace for years to come. Artistic success and economic stability help us provide a welcoming stage for both local and national arts groups. While we consistently seek out top-tier productions and popular artists, we also look to foster the next generation of talent, through our partnership with the Waterbury Arts Magnet Schools and our own educational programs.
    [Show full text]
  • Groundhog Day
    GROUNDHOG DAY TEACHING RESOURCES JUL—S E P 2 016 CONTENTS Company 3 Old Vic New Voices Education The Old Vic The Cut Creative team 7 London SE1 8NB Character breakdown 10 E [email protected] @oldvicnewvoices Synopsis 12 © The Old Vic, 2016. All information is correct at the Themes 15 time of going to press, but may be subject to change Timeline – Musicals adapted from American and 16 Teaching resources European films Compiled by Anne Langford Design Matt Lane-Dixon Rehearsal and production Interview with illusionist and Old Vic Associate, Paul Kieve 18 photography Manuel Harlan Interview with David Birch and Carolyn Maitland, 24 Old Vic New Voices Alexander Ferris Director Groundhog Day cast members Sharon Kanolik Head of Education & Community From Screen to Stage: Considerations when adapting films to 28 Ross Crosby Community Co-ordinator stage musicals Richard Knowles Stage Business Co-ordinator A conversation with Harry Blake about songs for musicals and 30 Tom Wright Old Vic New Voices Intern plays with songs and the differences between them. Further details of this production oldvictheatre.com Practical exercises – Screen to stage 33 A day in the life of Danny Krohm, Front of House Manager 37 Bibliography and further reading 39 The Old Vic Groundhog Day teaching resource 2 COMPANY Leo Andrew David Birch Ste Clough Roger Dipper Georgina Hagen Kieran Jae Julie Jupp Andy Karl Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Ensemble Phil Connors (Jenson) (Chubby Man) (Jeff) (Deputy) (Nancy) (Fred) (Mrs Lancaster) AndrewLangtree
    [Show full text]
  • Accents 2015
    Cover: Lower school visual arts teacher Robert Davis (ASL 2015–present) Crazy Hair, 2015 writes, “Grade 4 artists have been by Vittoria Di Meo ’24 exploring line, shape and form— Artist Vittoria joined ASL in Grade 2 in concentrating on lines being the building 2013. Her favorite subjects are music blocks for our ideas. The students were and art. She says, “I like to express my asked two questions: ‘What does a line feelings and thoughts in art class; I like look like?’ and ‘How do we make line Contents to be creative.” Outside of school, Vittoria express movement?’ They recorded their enjoys ice-skating (even though she finds responses in their journals and used it scary!), climbing trees, writing stories, their findings as guidelines for our first drawing, and exploring London. activity: Crazy Hair Day! Using hair as a subject, they focused on repeated patterns, variety and creative line expression. For inspiration, the students looked at the contemporary sculpture of Ai Weiwei, Chris Burden and Marcel Broodthaers—artists who use non- traditional materials in their art. Discussion followed on what makes a sculpture a sculpture. Our discussions helped introduce their found sculpture project. The students used material 4 Center stage at ASL! 12Commencement Auf18 wiedersehen adieu… usually tossed aside (used markers, broken pencils, etc.) to build their small A look at the performing arts at The Class of 2015 celebrate at A fond farewell to 11 long-serving creations. They had to construct their ASL over the years Central Hall Westminster members of faculty and staff works to enable them to stand without support, and record their designs in their notebooks.
    [Show full text]
  • The Lover and the Collection First Folio
    1 The First Folio CURRICULUM GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving Table of Contents the highest quality classic theatre, the Education Department About the Playwright 3 challenges learners of all ages to explore the ideas, emotions About the Play 4 and principles contained in classic texts and to discover the connection between classic theatre and our modern Harold Pinter’s Poetry 6 perceptions. We hope that this Curriculum Guide will prove Game Changers 7 useful to you while preparing to attend The Love and The Collection. The World of the Play 8 This curriculum guide provides information and activities to Guess My Subtext 10 help students form a personal connection to the play before Power Dynamics 11 attending the production. It contains material about the playwright, their world and their works. Also included are Pinteresque Landscape 12 approaches to explore the play in the classroom before and Discussion Questions 14 after the performance. We encourage you to photocopy these Theatre Etiquette 15 articles and activities and use them as supplemental material to the text. Resource List 16 The First Folio Curriculum Guide for the 2017-2018 Season was developed by the Shakespeare Theatre Company Founding Sponsors Education Department: Miles Gilburne and Nina Zolt Presenting Sponsors Director of Education Samantha Wyer Bello Beech Street Foundation Suzanne and Glenn Youngkin Associate Director of Education Dat Ngo Leadership Support Audience Enrichment Manager Hannah Hessel Ratner D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts Community Engagement Manager Jared Shortmeier Paul M.
    [Show full text]
  • A Study Op Dramatic Structure in Harold Pinter's Stage Plays
    A STUDY OP DRAMATIC STRUCTURE IN HAROLD PINTER'S STAGE PLAYS by CHRISTINE PATRICIA PARKIN born CHRISTINE PATRICIA GEORGE B.A. , University of Bristol, 1955 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the reauired standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of A The University of British Columbia Vancouver 8, Canada Date ABSTRACT Pinter has said that his main concern when writing a play is with structure, yet published criticism has so far paid little attention to this aspect of his craft. This study, therefore, examines the structures of Pinter's stage plays. The method followed is a chronological structural analysis moving from The Room through The Birthday Party, The Dumb Waiter, The Caretaker, The Homecoming, Landscape and Silence to his latest play, Old Times, first produced in London on June 1, 1971- The opening chapter discusses the terms which form a background to the subsequent description of the dramatic structures. The analyses demonstrate that there are at least three major features of his craftsmanship to emerge at this point in his career.
    [Show full text]
  • Download Girl Group Quiz Questions
    World AIDS Day 1 December Ultimate Girl Band Quiz Round 1: Name The Band ROUND 1: Name The Band 1 Frankie, Molly, Una, Vanessa, Rochelle Round 2: Iconic Moments Round 3: Covers & Collaborations Round 4: General Knowledge 2 Siobhan, Sara, Keren 13 Which body part did Geri Halliwell get in trouble 3 Jade, Jesy, Perrie, Leigh-Ann for flashing at The Brit Awards 1997? A: Her bum B: Her ankles C: Her boobs 4 Shaznay, Melanie, Nicole & Natalie 14 Which member of Destiny’s Child fell down on stage the most? A: Beyoncé 5 Terry, Cindy, Rhona B: Michelle C: Kelly 15 In 2019, on Drag Race UK what was the name of the 6 Nicola, Nadine, Cheryl, Sarah, Kimberly song created by The Frock Destroyers and the iconic Filth Harmony? A: Can I Get an Amen? B: Call Me Mother 7 Lisa, Rozonda, Tionne C: Break Up (Bye Bye) 16 In 1997, Melanie C confessed to stealing a roll of toilet paper as a souvenir from which famous person’s 8 Edele, Keavy, Lindsay, Sinead bathroom? A: Prince Charles B: Elton John C: Nelson Mandela 9 Monica, Gabriela 17 How did The Spice Girls arrive to the Olympics 2012? A: Helicopter landing B: In black cabs 10 Diana, Mary, Florence C: On the back of a milk float 18 On which morning TV show did Sarah Harding hit that bum note whilst performing ‘The Loving Kind’? A: GMTV B: Good Morning Britain C: BBC Breakfast ROUND 2: Iconic Moments 19 How many Members of The Sugababes have 11 Who went viral for her Jamaican accent saying there been? BALLEGDD? A: 5 A: Melanie C B: 6 B: Mutya Buena C: 8 C: Jesy Nelson 20 After a member of Fifth Harmony left the band, 12 Which Girls Aloud member infamously lost their they took to the stage at the VMA’s and used a stunt passport on national TV after being caught out lying double to fling the ex member off the stage during the about her age? performance.
    [Show full text]
  • Notes and References Notes and References
    Notes and References Notes and References Preface I. Time has altered the situation. John Osborne's play Inadmiss­ able Evidence opened at the Royal Court Theatre on September 9, 1964, followed by A Patriot for Me at the same theater which turned itself into a private club to avoid prosecution by the Lord Chamber­ lain; and in 1966 the National Theatre Company performed his latest play, A Bond Honored, a version of Lope de Vega's La Fianza Satis­ fecha. Harold Pinter has produced two new plays, but Brendan Behan died in 1964. 2. See also Sean O'Casey's rather sour dismissal in "The Bald Primaqueera" Atlantic Monthly (September, 1965). O'Casey does not appear to be very familiar with contemporary drama. Chapter One 1. I am grateful to my colleague, A. M. Goldman, for drawing my attention to this play. Hughie (published, 1959) is more a play to be read than acted, since most of the meaning emerges from the stage directions. It was left to dramatists like Beckett and Pinter to translate the unspoken into dialogue. 2. J. L. Styan, The Dark Comedy (Cambridge, 1962), p. 192. 3. I am greatly indebted to Mr. William's article that was first published in Twentieth Century, CLXX, 1011, and revised for The Pelican Guide to English Literature, The Modern Age, No. 7 (Lon­ don, 1961), pp. 496-508, under the title, "Recent English Drama." 4. The verse drama of Christopher Fry never presented such a challenge; its weakness was a strong tendency to use verse merely to decorate a romantic action rather than to create a new dramatic form.
    [Show full text]
  • Benedict Cumberbatch : the Biography Pdf, Epub, Ebook
    BENEDICT CUMBERBATCH : THE BIOGRAPHY PDF, EPUB, EBOOK Justin Lewis | 288 pages | 15 Sep 2015 | John Blake Publishing Ltd | 9781784183325 | English | London, United Kingdom Benedict Cumberbatch : The Biography PDF Book Most of the characters we've been introduced to in past MCU films will be coming together to take on Thanos, with the Guardians of the Galaxy teaming up with the Avengers for the first time, doing their all to stop chaos and destruction. He was a member of The Rattigan Society, Harrow's principal club for the dramatic arts, which was named after Old Harrovian and playwright Terence Rattigan. Cumberbatch's drama teacher, Martin Tyrell, called him "the best schoolboy actor" he had ever worked with. Coming to terms with it, he said, it is "an ongoing process. Even when her half-brother Benedict was met by screaming fans at premieres, there were those who would make a bee-line for his mum Wanda. Read by Benedict Cumberbatch Sherlock, Star Trek, The Imitation Game , this tale - often described as one of the greatest in the history of fiction - is chilling, captivating and darkly comic. Lists with This Book. Married Biography. Letters home to his parents were sincerely, blissfully happy. It was a role bursting with comic potential, and apparently according to the school magazine, he did extremely well. His eye color is blue-green and hair color is Reddish Brown. Benedict as a height of 6 feet and weighs 78kg. Personal Finance. If you ever wondered how the cast of the Marvel Universe manage to get such amazing bodies for films like 'Avengers: Infinity War', you might be surprised to know it's not all down to diet and exercise.
    [Show full text]
  • Questions for Wednesday, 22Nd January 2020 Set By: Dave
    Questions for Wednesday, 22nd January 2020 Set by: Dave Ess Question Reader: All parts of the answer shown in Bold Face are required. Parts shown in ordinary type are not essential, but if given incorrectly will mean that the answer is wrong; for example, if the answer shown is “Tom Watson”, “Watson” would be a correct answer, but “John Watson” would be incorrect. Parts shown in italics are purely explanatory and are not required. If the answer offered is incomplete (for example, “Roosevelt” for “Theodore Roosevelt”, you may, at your discretion, ask the person answering to expand the answer. In the event of any problem, three spare questions can be found on the final sheet. When you are ready to start reading the questions, proceed to the next page Press Page Up or Page Down to move between rounds (or half-rounds for team questions) Individual Round 1 Pauls - All answers contain the word Paul. 1. In 1975 who co-founded Microsoft with Bill Gates? Paul Allen 2. Who was the leader of the UK Independence Party from November 2016 to June 2017? Paul Nuttall 3. Who wrote the 1944 existentialist play "No Exit"? Jean-Paul Sartre 4. During the French revolution who was murdered in his bath by Charlotte Corday? Jean-Paul Marat 5. In 1990, who married American actress Linda Kozlowski? Paul Hogan 6. Who is the current presenter of the BBC antiques programme Flog It!? Paul Martin 7. Which singer did actress Carrie Fisher divorce in 1984? Paul Simon 8. Which actor is known for his roles as Barry Grant in the soap opera "Brookside" and Des Paul Usher Taviner in the ITV drama "The Bill"? 9.
    [Show full text]
  • Hamlet Study Guide
    Sacramento Theatre Company Study Guide The Hamlet By: William Shakespeare Study Guide Materials Compiled by Anna Miles 1 Sacramento Theatre Company Mission Statement The Sacramento Theatre Company (STC) strives to be the leader in integrating professional theatre with theatre arts education. STC produces engaging professional theatre, provides exceptional theatre training, and uses theatre as a tool for educational engagement. Our History The theatre was originally formed as the Sacramento Civic Repertory Theatre in 1942, an ad hoc troupe formed to entertain locally-stationed troops during World War II. On October 18, 1949, the Sacramento Civic Repertory Theatre acquired a space of its own with the opening of the Eaglet Theatre, named in honor of the Eagle, a Gold Rush-era theatre built largely of canvas that had stood on the city’s riverfront in the 1850s. The Eaglet Theatre eventually became the Main Stage of the not-for-profit Sacramento Theatre Company, which evolved from a community theatre to professional theatre company in the 1980s. Now producing shows in three performance spaces, it is the oldest theatre company in Sacramento. After five decades of use, the Main Stage was renovated as part of the H Street Theatre Complex Project. Features now include an expanded and modernized lobby and a Cabaret Stage for special performances. The facility also added expanded dressing rooms, laundry capabilities, and other equipment allowing the transformation of these performance spaces, used nine months of the year by STC, into backstage and administration places for three months each summer to be used by California Musical Theatre for Music Circus.
    [Show full text]