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Press Release
PRESS RELEASE Shakespeare’s Globe Announces Full Casting for Nick Bagnall’s Love’s Labour’s Lost 17 JULY 2018 Shakespeare’s Globe is delighted to announce full casting for Nick Bagnall’s Love’s Labour’s Lost, opening in the Sam Wanamaker Playhouse on Thursday 23 August. Dharmesh Patel will play Berowne. Dharmesh returns to the Globe after starring in Barrie Rutter's The Captive Queen in the Sam Wanamaker Playhouse earlier this year. Other recent theatre credits include Titus Andronicus, Antony and Cleopatra and Julius Caesar (RSC), The Two Gentlemen of Verona and The Tempest (Shakespeare's Globe). Kirsty Woodward is Princess of France. Kirsty appeared at The Globe in last year’s touring production of Tristan & Yseult, and has also appeared in Globe productions of Pericles and The Winter’s Tale. Her recent television work includes Bad Move (ITV) and Quacks (BBC). Paul Stocker will play King of Navarre, returning to the Globe after appearing as Palamon in Barrie Rutter's The Two Noble Kinsmen earlier this summer. Paul’s other theatre credits include The Curious Incident of the Dog in the Night-Time (West End), Coral, A Thousand Stars Explode in the Sky (National Theatre Studio) and A Midsummer Night’s Dream (Regent’s Park). Television work includes Doctors, EastEnders and The Rack Pack (BBC). Jade Williams is Rosaline. Jade has appeared in several Globe productions including Matthew Dunster's Doctor Faustus, Raz Shaw's God of Soho and Jessica Swale's Bedlam. Jade's other recent theatre work includes The Cherry Orchard, The Lower Depths (Arcola) and The Seagull (Chichester, National Theatre). -
Social and Cultural Functions of the Local Press in Preston, Lancashire, 1855-1900
Reading the local paper: Social and cultural functions of the local press in Preston, Lancashire, 1855-1900 by Andrew Hobbs A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire November 2010 ABSTRACT This thesis demonstrates that the most popular periodical genre of the second half of the nineteenth century was the provincial newspaper. Using evidence from news rooms, libraries, the trade press and oral history, it argues that the majority of readers (particularly working-class readers) preferred the local press, because of its faster delivery of news, and because of its local and localised content. Building on the work of Law and Potter, the thesis treats the provincial press as a national network and a national system, a structure which enabled it to offer a more effective news distribution service than metropolitan papers. Taking the town of Preston, Lancashire, as a case study, this thesis provides some background to the most popular local publications of the period, and uses the diaries of Preston journalist Anthony Hewitson as a case study of the career of a local reporter, editor and proprietor. Three examples of how the local press consciously promoted local identity are discussed: Hewitson’s remoulding of the Preston Chronicle, the same paper’s changing treatment of Lancashire dialect, and coverage of professional football. These case studies demonstrate some of the local press content that could not practically be provided by metropolitan publications. The ‘reading world’ of this provincial town is reconstructed, to reveal the historical circumstances in which newspapers and the local paper in particular were read. -
DVD Movie List by Genre – Dec 2020
Action # Movie Name Year Director Stars Category mins 560 2012 2009 Roland Emmerich John Cusack, Thandie Newton, Chiwetel Ejiofor Action 158 min 356 10'000 BC 2008 Roland Emmerich Steven Strait, Camilla Bella, Cliff Curtis Action 109 min 408 12 Rounds 2009 Renny Harlin John Cena, Ashley Scott, Aidan Gillen Action 108 min 766 13 hours 2016 Michael Bay John Krasinski, Pablo Schreiber, James Badge Dale Action 144 min 231 A Knight's Tale 2001 Brian Helgeland Heath Ledger, Mark Addy, Rufus Sewell Action 132 min 272 Agent Cody Banks 2003 Harald Zwart Frankie Muniz, Hilary Duff, Andrew Francis Action 102 min 761 American Gangster 2007 Ridley Scott Denzel Washington, Russell Crowe, Chiwetel Ejiofor Action 113 min 817 American Sniper 2014 Clint Eastwood Bradley Cooper, Sienna Miller, Kyle Gallner Action 133 min 409 Armageddon 1998 Michael Bay Bruce Willis, Billy Bob Thornton, Ben Affleck Action 151 min 517 Avengers - Infinity War 2018 Anthony & Joe RussoRobert Downey Jr., Chris Hemsworth, Mark Ruffalo Action 149 min 865 Avengers- Endgame 2019 Tony & Joe Russo Robert Downey Jr, Chris Evans, Mark Ruffalo Action 181 mins 592 Bait 2000 Antoine Fuqua Jamie Foxx, David Morse, Robert Pastorelli Action 119 min 478 Battle of Britain 1969 Guy Hamilton Michael Caine, Trevor Howard, Harry Andrews Action 132 min 551 Beowulf 2007 Robert Zemeckis Ray Winstone, Crispin Glover, Angelina Jolie Action 115 min 747 Best of the Best 1989 Robert Radler Eric Roberts, James Earl Jones, Sally Kirkland Action 97 min 518 Black Panther 2018 Ryan Coogler Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o Action 134 min 526 Blade 1998 Stephen Norrington Wesley Snipes, Stephen Dorff, Kris Kristofferson Action 120 min 531 Blade 2 2002 Guillermo del Toro Wesley Snipes, Kris Kristofferson, Ron Perlman Action 117 min 527 Blade Trinity 2004 David S. -
Rycroft, E. (2017)
Rycroft, E. (2017). Place on the late medieval and early modern stage: The case of Ane Satyre of the Thrie Estaitis. Shakespeare Bulletin, 35(2), 247-266. https://doi.org/10.1353/shb.2017.0016 Peer reviewed version Link to published version (if available): 10.1353/shb.2017.0016 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Johns Hopkins University at https://muse.jhu.edu/article/662744. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Place on the Late Medieval and Early Modern Stage: The Case of Ane Satyre of the Thrie Estaitis ELEANOR RYCROFT University of Bristol Place and space theory has now been applied widely throughout early modern studies to unlock such diverse areas as embodiment, cultural geography, poetry, performance, and politics. Its theoretical application across the disciplines of history, history of art, theater studies, English literature, and geography demonstrates the interdisciplinary potential of the “spatial turn.”1 At the heart of place and space theory—evident from its genesis in the works of Gaston Bachelard and Yi-Fu Tuan through to its most recent concern with placelessness in the digital age—is an assumption that space is an empty container, while place is a locale. -
Panther Auto Corner Left: the Band Marches on to Victory
PA NTHER PRIDE Volume 11, I ssue #2 TABLE OF CONTENTS Band's Victory in M aryville Page 1: Bands Victory in Maryville The marching band has had a fantastic Middle School Sports season! At the first competition in Carrollton they Middle School Football had a high music score but a low marching score and Page 2: Clubs and Activities flipped the scores in Cameron. On October 26th they Art Club had a competition in Maryville where they placed Elementary News second in their class 2A, only four points away from Blast Off Into the School Year first. The band had the third-highest music score over all the bands that performed. The band was very Stacking It Up excited to beat some very good bands for their last Books for First Grade marching competition of the year and are getting Character Assembly ready for concert season. Page 3: Current Events Florida Man Drumline this year had a good season. They Hong Kong Protests only had two competitions compared to the three that Creative Minds the whole band had. They played Blazed Blues and Lobster Walk for their performance. The drumline Photography Basics placed fourth in Carrollton and didn?t place in Kara Claypole, Mr.Dunker, and Ysee Chorot celebrate their "Song of the Sea" Cameron. second place trophy as they marched at Maryville for the "Bernard's Poem" Northwest Homecoming Parade. Page 4: Panther Auto Corner Left: The band marches on to victory. Ask Anonymous Entertainment Corbin's Destroy... Page 5: Joker Is a Marvel New Music Releases Page 6: New Video Game Releases Page 7: Horoscopes Page 8: November Menu Polo M iddle School Sports M iddle School Football Stats Board - By: M r. -
Origins of NZ English
Origins of NZ English There are three basic theories about the origins of New Zealand English, each with minor variants. Although they are usually presented as alternative theories, they are not necessarily incompatible. The theories are: • New Zealand English is a version of 19th century Cockney (lower-class London) speech; • New Zealand English is a version of Australian English; • New Zealand English developed independently from all other varieties from the mixture of accents and dialects that the Anglophone settlers in New Zealand brought with them. New Zealand as Cockney The idea that New Zealand English is Cockney English derives from the perceptions of English people. People not themselves from London hear some of the same pronunciations in New Zealand that they hear from lower-class Londoners. In particular, some of the vowel sounds are similar. So the vowel sound in a word like pat in both lower-class London English and in New Zealand English makes that word sound like pet to other English people. There is a joke in England that sex is what Londoners get their coal in. That is, the London pronunciation of sacks sounds like sex to other English people. The same joke would work with New Zealanders (and also with South Africans and with Australians, until very recently). Similarly, English people from outside London perceive both the London and the New Zealand versions of the word tie to be like their toy. But while there are undoubted similarities between lower-class London English and New Zealand (and South African and Australian) varieties of English, they are by no means identical. -
Tate Report 2010-11: List of Tate Archive Accessions
Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste -
3D Computer Modelling the Rose Playhouse Phase I (1587- 1591) and Phase II (1591-1606)
3D Computer Modelling The Rose Playhouse Phase I (1587- 1591) and Phase II (1591-1606) *** Research Document Compiled by Dr Roger Clegg Computer Model created by Dr Eric Tatham, Mixed Reality Ltd. 1 BLANK PAGE 2 Contents Acknowledgements…………………………………………………………………….………………….………………6-7 Foreword…………………………………………………………………………………………………………….9-10 1. Introduction……………………..………...……………………………………………………….............………....11-15 2. The plot of land 2.1 The plot………………………………………………..………………………….………….……….……..…17-19 2.2 Sewer and boundary ditches……………………………………………….……………….………….19-23 3. The Rose playhouse, Phase I (1587-1591) 3.1 Bridges and main entrance……………………..……………………………………,.……………….25-26 3.2 Exterior decoration 3.2.1 The sign of the Rose…………………………………………………………………………27-28 3.2.2 Timber frame…………………………………………………..………………………………28-31 3.3. Walls…………………………………………………………………………………………………………….32-33 3.3.1 Outer walls………………………………………………………….…………………………..34-36 3.3.2 Windows……………………………………………………………..…………...……………..37-38 3.3.3 Inner walls………………………………………………………………………………………39-40 3.4 Timber superstructure…………………………………………….……….…………….…….………..40-42 3.4.1 The Galleries………………………………………………..…………………….……………42-47 3.4.2 Jutties……………………………………………………………...….…………………………..48-50 3.5 The yard………………………………………………………………………………………….…………….50-51 3.5.1 Relative heights………………………………………………...……………...……………..51-57 3.5.2. Main entrance to the playhouse……………………………………………………….58-61 3.6. ‘Ingressus’, or entrance into the lower gallery…………………………..……….……………62-65 3.7 Stairways……………………………………………………………………………………………………....66-71 -
What Ever Happened to In-Yer-Face Theatre?
What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk. -
The Emergence of Multicultural London English
Contact, the feature pool and the speech community: The emergence of Multicultural London English Jenny Cheshire School of Languages Linguistics and Film Queen Mary, University of London Mile End Road London E1 4NS [email protected] fax +44 (0)20 8980 5400 tel. +44 (0)20 7882 8293 Paul Kerswill Department of Linguistics and English Language Lancaster University Lancaster LA1 4YL United Kingdom [email protected] fax +44 1524 843085 tel. +44 1524 594577 Susan Fox School of Languages Linguistics and Film Queen Mary, University of London Mile End Road London E1 4NS [email protected] fax +44 (0)20 8980 5400 tel.+44 (0)20 7882 7579 Eivind Nessa Torgersen Sør-Trøndelag University College 7004 Trondheim Norway [email protected] fax +47 73559851 tel. +47 73559790 Page 1 of 64 Contact, the feature pool and the speech community: The emergence of Multicultural London English Abstract In Northern Europe’s major cities, new varieties of the host languages are emerging in the multilingual inner cities. While some analyse these ‘multiethnolects’ as youth styles, we take a variationist approach to an emerging ‘Multicultural London English’ (MLE), asking: (1) what features characterise MLE? (2) at what age(s) are they acquired? (3) is MLE vernacularised ? (4) when did MLE emerge, and what factors enabled its emergence? We argue that innovations in the diphthongs and the quotative system are generated from the specific sociolinguistics of inner-city London, where at least half the population is undergoing group second-language acquisition and where high linguistic diversity leads to a feature pool to select from. -
Shakespeare News
SHAKESPEARE NEWS https://ui.constantcontact.com/visualeditor/visual_editor_previe... presents Nothing is Truer than Truth Nothing is Truer than Truth at The American Film Market, Mark Rylance joins The Shakespeare Oxford Fellowship, and more... 1 of 10 12/13/13 4:34 PM SHAKESPEARE NEWS https://ui.constantcontact.com/visualeditor/visual_editor_previe... Controversy Films was an official participant at The American Film Market in Los Angeles this month. With almost 8,000 attendees and 800 buyers, AFM is the biggest film market in the United States. We met with distributors, producers, industry insiders, actors, writers, and many friends. NOTHING IS TRUER THAN TRUTH sparked interest from several new collaborators and potential partners. On Friday afternoon, former Women in Film New York president and entertainment attorney Laverne Berry and I shared stories poolside with writer Sam Joseph and producer Byron Martin. Saturday included lunch with Controversy Films mentor and film critic James Ulmer, IMDB hero Matt Syrette and the newest member of the Ulmer Scale crew Ethan. After pitching to international distributors at the market, I went over to the AFI Film Festival in Hollywood to meet Controversy Films festival guru Vicki Oleskey and catch the premiere screening of THE PAST, from Iranian 2 of 10 12/13/13 4:34 PM SHAKESPEARE NEWS https://ui.constantcontact.com/visualeditor/visual_editor_previe... director Asghar Farhadi, whose previous film A SEPARATION won the 2012 Academy Award for best foreign language film. On Monday, I had coffee in West Hollywood with award-winning actor and writer Gregory Martin and his partner Cherie, and then we all drove to the Dreamworks Animation campus for a fabulous lunch with Controversy Films advisor Carole Sue Lipman. -
Love's Labour's Lost
CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo.