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David Hare's Stuff Happens a Dramatic Journey of American War
International Letters of Social and Humanistic Sciences Submitted: 2015-12-31 ISSN: 2300-2697, Vol. 67, pp 57-69 Accepted: 2016-02-16 doi:10.18052/www.scipress.com/ILSHS.67.57 Online: 2016-03-04 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2016 David Hare’s Stuff Happens A Dramatic Journey of American War on Iraq Elaff Ganim Salih1, Hardev Kaur2, Mohamad Fleih Hassan3 Faculty of Modern Languages and Communication, Universiti Putra Malaysia, Serdang, Kuala Lumpur, Malaysia 1*[email protected] [email protected] [email protected] Keywords: Verbatim theatre; Stuff Happens; Orientalism; David Hare. ABSTRACT The war launched by America and its allies against the country of Iraq on 2003 was a debatable and notorious war for the public opinion was shocked with the realization that the reasons for launching the war under the title ‘Iraq’s Mass Destruction Weapons’ were false. The tragic consequences of this war led many writers around the world to question the policy of the United States and its manipulation of facts to justify their narratives. The present study examines the American policy of invading Iraq in David Hare’s Stuff Happens. It investigates Hare’s technique of combining documentary realism with imaginative reconstruction of the arguments to dramatize the American Invasion of Iraq. Stuff Happens is a historical and political play written as a verbatim theatre. It depicts the backroom deals and political maneuvers of the Bush administration in justifying their campaign against the ‘Axis of Evil’ culminated by the war against Iraq. The verbatim theatre is the best way of showing the gap between ‘what is said and what is seen to be done’. -
Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Remy Bumppo Presents the Chicago Premiere of Tom Stoppard's Award-Winning Comedy Heroes
FOR IMMEDIATE RELEASE Stephanie Kulke / Ph: 773-244-8119 August 31, 2009 [email protected] REMY BUMPPO PRESENTS THE CHICAGO PREMIERE OF TOM STOPPARD’S AWARD-WINNING COMEDY HEROES CHICAGO – Remy Bumppo Theatre Company presents the Chicago premiere of Heroes, winner of the 2006 Olivier Award for Best New Comedy, written by Gerard Sibleyras and translated by Tom Stoppard. Heroes runs Oct. 14 through Nov. 29 in the Downstairs Mainstage of the Greenhouse Theater at 2257 N. Lincoln Avenue. Preview performances begin Thursday, Oct. 14 with opening night Sunday, Oct. 18 at 7:00 p.m. The Heroes cast features guest artist Mike Nussbaum making his Remy Bumppo debut, Artistic Associate David Darlow and guest artist Roderick Peeples. Heroes is directed by Remy Bumppo Artistic Director James Bohnen, with set design by Tim Morrison, costume design by Samantha C. Jones, lighting design by Rich Norwood, sound design by Jason Knox and properties design by Nick Heggestad. "I say we go...up that hill, where the poplars are. There where the wind blows...it's not a bad halfway house between Indochina and a picnic." - Heroes It's 1959 and Philippe, Gustave and Henri, three veterans from WWI keep each other company on the back terrace of a retired soldiers' home. Through a series of witty scenes, the men goad one another into new adventures. The men's cantankerous camaraderie becomes strained as they plot an expedition to Indochina, or at least as far as the poplar trees on the distant hill. Heroes is a funny and bittersweet play about memory and "not going gently into that good night." The 2009-2010 Season is made possible by Prince Charitable Trusts, The Gaylord & Dorothy Donnelley Foundation, The Illinois Arts Council and by a City Arts Program 3 grant from the City of Chicago Department of Cultural Affairs. -
The Chichester Festival Theatre Productions YOUNG CHEKHOV
The Chichester Festival Theatre productions YOUNG CHEKHOV Olivier Theatre Previews from 14 July, press day 3 August, booking until 3 September with further performances to be announced. The YOUNG CHEKHOV trilogy opened to overwhelming acclaim at Chichester Festival Theatre last year. The company now come to the National, offering a unique chance to explore the birth of a revolutionary dramatic voice. The production is directed by Jonathan Kent, with set designs by Tom Pye, costumes by Emma Ryott, lighting by Mark Henderson, music by Jonathan Dove, sound by Paul Groothuis and fight direction by Paul Benzing. Performed by one ensemble of actors, each play can be seen as a single performance over different days or as a thrilling all-day theatrical experience. Cast includes Emma Amos, Pip Carter, Anna Chancellor, Jonathan Coy, Mark Donald, Peter Egan, Col Farrell, Beverley Klein, Adrian Lukis, Des McAleer, James McArdle, Mark Penfold, Nina Sosanya, Geoffrey Streatfeild, Sarah Twomey, David Verrey, Olivia Vinall and Jade Williams. David Hare has written over thirty original plays, including The Power of Yes, Gethsemane, Stuff Happens, The Permanent Way (a co-production with Out of Joint), Amy’s View, Skylight, The Secret Rapture, The Absence of War, Murmuring Judges, Racing Demon, Pravda (written with Howard Brenton) and Plenty for the National Theatre. His other work includes South Downs (Chichester Festival Theatre and West End), The Judas Kiss (Hampstead and West End) and The Moderate Soprano (Hampstead). His adaptations include Behind the Beautiful Forevers and The House of Bernarda Alba at the NT, The Blue Room (Donmar and Broadway) and The Master Builder (The Old Vic). -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay. -
Monday 7 January 2019 FULL CASTING ANNOUNCED for THE
Monday 7 January 2019 FULL CASTING ANNOUNCED FOR THE WEST END TRANSFER OF HOME, I’M DARLING As rehearsals begin, casting is announced for the West End transfer of the National Theatre and Theatr Clwyd’s critically acclaimed co-production of Home, I’m Darling, a new play by Laura Wade, directed by Theatre Clwyd Artistic Director Tamara Harvey, featuring Katherine Parkinson, which begins performances at the Duke of York’s Theatre on 26 January. Katherine Parkinson (The IT Crowd, Humans) reprises her acclaimed role as Judy, in Laura Wade’s fizzing comedy about one woman’s quest to be the perfect 1950’s housewife. She is joined by Sara Gregory as Alex and Richard Harrington as Johnny (for the West End run, with tour casting for the role of Johnny to be announced), reprising the roles they played at Theatr Clwyd and the National Theatre in 2018. Charlie Allen, Susan Brown (Sylvia), Ellie Burrow, Siubhan Harrison (Fran), Jane MacFarlane and Hywel Morgan (Marcus) complete the cast. Home, I’m Darling will play at the Duke of York’s Theatre until 13 April 2019, with a press night on Tuesday 5 February. The production will then tour to the Theatre Royal Bath, and The Lowry, Salford, before returning to Theatr Clwyd following a sold out run in July 2018. Home, I’m Darling is co-produced in the West End and on tour with Fiery Angel. How happily married are the happily married? Every couple needs a little fantasy to keep their marriage sparkling. But behind the gingham curtains, things start to unravel, and being a domestic goddess is not as easy as it seems. -
THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay. -
The Humanitarian Impact of Drones
THE HUMANITARIAN IMPACT OF DRONES The Humanitarian Impact of Drones 1 THE HUMANITARIAN IMPACT OF DRONES THE HUMANITARIAN IMPACT OF DRONES © 2017 Women’s International League for Peace and Freedom; International Contents Disarmament Institute, Pace University; Article 36. October 2017 The Humanitarian Impact of Drones 1st edition 160 pp 3 Preface Permission is granted for non-commercial reproduction, Cristof Heyns copying, distribution, and transmission of this publication or parts thereof so long as full credit is given to the 6 Introduction organisation and author; the text is not altered, Ray Acheson, Matthew Bolton, transformed, or built upon; and for any reuse or distribution, these terms are made clear to others. and Elizabeth Minor Edited by Ray Acheson, Matthew Bolton, Elizabeth Minor, and Allison Pytlak. Impacts Thank you to all authors for their contributions. 1. Humanitarian Harm This publication is supported in part by a grant from the 15 Foundation Open Society Institute in cooperation with the Jessica Purkiss and Jack Serle Human Rights Initiative of the Open Society Foundations. Cover photography: 24 Country case study: Yemen ©2017 Kristie L. Kulp Taha Yaseen 29 2. Environmental Harm Doug Weir and Elizabeth Minor 35 Country case study: Nigeria Joy Onyesoh 36 3. Psychological Harm Radidja Nemar 48 4. Harm to Global Peace and Security Chris Cole 58 Country case study: Djibouti Ray Acheson 64 Country case study: The Philippines Mitzi Austero and Alfredo Ferrariz Lubang 2 1 THE HUMANITARIAN IMPACT OF DRONES Preface Christof Heyns 68 5. Harm to Governmental It is not difficult to understand the appeal of Transparency Christof Heyns is Professor of Law at the armed drones to those engaged in war and other University of Pretoria. -
Justin Pollard Film & TV Historian / Writer
Justin Pollard Film & TV Historian / Writer Agents Thea Martin [email protected] Credits In Development Production Company Notes OPIUM Tiger Aspect Exec Producer and Historical Consultant UNTITLED PROJECT Mandabach TV Historical Advisor UNTITLED PROJECT STX Historical Advisor 12 CAESARS Green Pavilion Co-Writer Television Production Company Notes VALHALLA MGM Associate Producer and Historical Consultant BROOKLYN HBO Historical Advisor 2018 BORGIA Company of Wolves Research Consultant. BRITANNIA Vertigo Films Historical Consultant United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes WILL Monumental / TNT Historical Consultant THE VIKINGS, Series MGM/ History Channel Associate Producer & Historical 1, 2, 3, 4 and 5 Consultant. 10 part drama series based on Viking Europe in the 9th century. PAGE EIGHT Carnival Films/ BBC Research Consultant. Film noir thriller starring Ralph Fiennes and Rachel Weisz. Directed by David Hare. QI Quite Interesting Ltd/ Talkback Writer/ Associate Producer. (Series 2 Thames/ BBC1 onward). PEAKY BLINDERS Tiger Aspect/ BBC Research Consultant. Drama series set amongst Birmingham gangs in the early 1920s. THE DRAGONS OF National Geographic Television Writer. MIDDLE EARTH Animated special on the symbolism of the dragon in the medieval Christian world. CAMELOT Starz/ GK-TV Script Consultant. 10 part drama series based on the Morte D’Arthur, starring Joseph Fiennes and Eva Green. THE TUDORS: SERIES Reveille/ Working Title/ TM Research Consultant. I-IV Productions/ Peace Arch Drama series starring Jonathan Rhys Entertainment Group, Inc. for Meyers as Henry VIII. Showtime ALEXANDRIA, Lion Television/ Channel 4 Writer/ Producer. -
History As a Construct.Pdf
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature HISTORY AS A CONSTRUCT: CARYL CHURCHILL’S MAD FOREST, DAVID EDGAR’S PENTECOST, AND DAVID HARE’S STUFF HAPPENS Ömer Kemal GÜLTEKİN Ph.D. Dissertation Ankara, 2018 History as a Construct: Caryl Churchill’s Mad Forest, David Edgar’s Pentecost, and David Hare’s Stuff Happens Ömer Kemal GÜLTEKİN Hacettepe University School of Social Sciences Department of English Language and Literature English Language and Literature Ph.D. Dissertation Ankara, 2018 BİLDİRİM Hazırladığım tezin/raporun tamamen kendi çalışmam olduğunu ve her alıntıya kaynak gösterdiğimi taahhüt eder, tezimin/raporumun kağıt ve elektronik kopyalarının Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü arşivlerinde aşağıda belirttiğim koşullarda saklanmasına izin verdiğimi onaylarım: o Tezimin/Raporumun tamamı her yerden erişime açılabilir. o Tezim/Raporum sadece Hacettepe Üniversitesi yerleşkelerinden erişime açılabilir. o Tezimin/Raporumun …… yıl süreyle erişime açılmasını istemiyorum. Bu sürenin sonunda uzatma için başvuruda bulunmadığım takdirde, tezimin/raporumun tamamı her yerden erişime açılabilir. [25.01.2018] [Ömer Kemal Gültekin] YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI Enstitü tarafından onaylanan lisansüstü tezimin/raporumun tamamını veya herhangi bir kısmını, basılı (kâğıt) ve elektronik formatta arşivleme ve aşağıda verilen koşullarla kullanıma açma iznini Hacettepe Üniversitesine verdiğimi bildiririm. Bu izinle Üniversiteye verilen -
David Hare's the Blue Room and Stanley
Schnitzler as a Space of Central European Cultural Identity: David Hare’s The Blue Room and Stanley Kubrick’s Eyes Wide Shut SUSAN INGRAM e status of Arthur Schnitzler’s works as representative of fin de siècle Vien- nese culture was already firmly established in the author’s own lifetime, as the tributes written in on the occasion of his sixtieth birthday demonstrate. Addressing Schnitzler directly, Hermann Bahr wrote: “As no other among us, your graceful touch captured the last fascination of the waning of Vi- enna, you were the doctor at its deathbed, you loved it more than anyone else among us because you already knew there was no more hope” (); Egon Friedell opined that Schnitzler had “created a kind of topography of the constitution of the Viennese soul around , on which one will later be able to more reliably, more precisely and more richly orient oneself than on the most obese cultural historian” (); and Stefan Zweig noted that: [T]he unforgettable characters, whom he created and whom one still could see daily on the streets, in the theaters, and in the salons of Vienna on the occasion of his fiftieth birthday, even yesterday… have suddenly disappeared, have changed. … Everything that once was this turn-of-the-century Vienna, this Austria before its collapse, will at one point… only be properly seen through Arthur Schnitzler, will only be called by their proper name by drawing on his works. () With the passing of time, the scope of Schnitzler’s representativeness has broadened. In his introduction to the new English translation of Schnitzler’s Dream Story (), Frederic Raphael sees Schnitzler not only as a Viennese writer; rather “Schnitzler belongs inextricably to mittel-Europa” (xii).