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Barbican Events Dec 2017 Barbican.Org.Uk News 2–12 Playing the Changes 2–4 Barbican Maker: Emma Johnson 4–6 Transpose 7–
1 Barbican Events Dec 2017 barbican.org.uk News 2–12 Playing the Changes 2–4 Barbican Maker: Emma Johnson 4–6 Transpose 7–9 The Caretaker 9–11 Ho Ho Homeware 11–12 Listings 13–53 Art 13–17 Film 18–26 Classical Music 26–44 Contemporary Music 44–45 Theatre & Dance 45–50 Learning 50–53 Information 53–67 Explore 53 Booking 55 Calendar 58–67 2 News Playing the Changes Christian Campbell, Trinidadian Bahamian poet, essayist and cultural critic, considers the importance of Basquiat’s work for today’s audience. Some questions for Boom for Real: what tools, what language, what new ways of being together do we have now that we didn’t have then with which to read the work of Jean-Michel Basquiat? How has the work changed (which is also to ask, how have we changed)? And how does the work read us now? Fortuitously a new commission, Purple, is currently on show in the Curve by the ferociously brilliant artist John Akomfrah , who claims Basquiat as an influence. Housing Akomfrah and Basquiat at the same institution changes the conversation. This is a crucial time to look at Basquiat again given major global cultural shifts including the rise of more African- American, Caribbean, Latin American and other diaspora artists and writers; the rise of ’First World’ discourses on diaspora; the rise of intersectional black theories (such as black feminist theory, black queer theory, etc) and new histories of black expressive cultures; the rise of critical theory; the rise of alternative histories of conceptualism; the rise and increasing visibility of black immigrants in North America and Europe; the development of institutional support for the arts outside of North America and Europe (through museums, festivals, prizes, biennials, 3 etc); and the endurance and renewal of anti-colonial and black radical movements that continue to fight institutional racism in all spheres. -
Richard Cant
Richard Cant Photo: Wolf Marloh Stage 2019, Stage, Quentin Crisp, AFTER EDWARD, Globe Theatre, London, Brendan O'Hea 2019, Stage, Earl of Lancaster, EDWARD THE SECOND, Globe Theatre, London, Nick Bagnall 2018, Stage, Jeremy Crowther, MAYDAYS, Royal Shakespeare Company, Owen Horsley 2017, Stage, DeStogumber/ Poulengey, SAINT JOAN, Donmar, Josie Rourke 2016, Stage, One, STELLA, LIFT/Brighton Festival, Neil Bartlett 2015, Stage, Aegeus, MEDEA, Almeida, Rupert Goold 2015, Stage, Bernie, MY NIGHT WITH REG, Donmar Warehouse/ Apollo Theatre, Rob Hastie 2015, Stage, Tudor/Male Guard/Assistant, THE TRIAL, The Young Vic, Richard Jones 2013, Stage, Friedrich Muller, WAR HORSE, NT at New London Theatre, Alex Sims, Kathryn Ind 2010, Stage, Page of Herodias, SALOME, Headlong, Jamie Lloyd 2008, Stage, Thersites, TROILUS AND CRESSIDA, Cheek by Jowl, Declan Donnellan 2007, Stage, Pisanio, CYMBELINE, Cheek by Jowl, Declan Donnellan 2002, Stage, Lord Henry, ORIGINAL SIN, Sheffield Crucible Theatre, Peter Gill 2000, Stage, Darren, OTHER PEOPLE, Royal Court Theatre, Dominic Cooke 2000, Stage, Brian/Javid, PERA PALAS, Gate, Sacha Wares 2000, Stage, SHE STOOPS TO CONQUER, New Kent Opera, Hettie McDonald 2000, Stage, Sparkish, THE COUNTRY WIFE, Sheffield Crucible Theatre, Michael Grandage 1999, Stage, Prior, ANGELS IN AMERICA, Library, Manchester, Roger Haines 1997, Stage, Arviragus, CYMBELINE, Royal Shakespeare Company, Adrian Noble 1997, Stage, Rosencrantz, HAMLET, RSC, Matthew Warchus 1997, Stage, Balthasar, MUCH ADO ABOUT NOTHING, RSC, Michael Boyd 1996, Stage, -
The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 12-2018 The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere Sarah Marksteiner Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Playwriting Commons Recommended Citation Marksteiner, Sarah, "The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere" (2018). Undergraduate Honors Theses. Paper 1264. https://scholarworks.wm.edu/honorstheses/1264 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Theatre from The College of William and Mary by Sarah A. Marksteiner Williamsburg, VA December 7, 2018 1 TABLE OF CONTENTS ABSTRACT ............................................................................................................................... 2 CHAPTER I: THE GENESIS ................................................................................................... -
Indirect Translation on the London Stage: Terminology and (In)Visibility
Indirect translation on the London stage: terminology and (in)visibility Geraldine Brodie* Centre for Translation Studies, University College London, UK *[email protected] Abstract Productions of translated plays on the London stage use a variety of terms to describe the interlingual interpretive process that has taken place between the source text and the performance. Most frequently, a translated play is described as a “version” or “adaptation”, with the term “translation” reserved for specialized productions. The translation method most commonly adopted is to commission a source-language expert to prepare a “literal” translation which is then used by an English-speaking theatre practitioner to produce a playscript for performance. This article examines the incidence of such indirect translation practices, the inconsistencies of the applied terminology, and the relevance for indirect translation in its wider sense, revealing the shadows of translational behaviour even within language pairs, and demonstrating the multiplicity of agents impacting on the ultimate appearance of a text in translation. Keywords: adaptation, literal translation, London theatre, theatre translation, version, indirect translation Introduction Translation is a collaborative exercise, incorporating a range of participants and stages in the trajectory between originating and ultimate texts. The romantic concept of the solitary, omniscient translator – Jerome, the patron saint of translators, alone in the desert with his bible and skull – is no longer apposite, if it ever were. The writer of the “letter of Aristeas” in around 130 BCE depicted seventy-two translators creating the early-third-century Septuagint translation of the Hebrew scripture, “making all details harmonize by mutual comparison” – although this was disputed by later authors, who preferred to ascribe the translation of sacred texts to divine inspiration (Robinson 2014, 4–5). -
02 the Hollow Crown Bios
Press Contact: Harry Forbes 212.560.8027, [email protected] Lindsey Bernstein 212.560.6609, [email protected] Great Performances: The Hollow Crown Bios Tom Hiddleston After he was seen in a production of A Streetcar Named Desire by Lorraine Hamilton of the notable actors’ agency Hamilton Hodell, Tom Hiddleston was shortly thereafter given his first television role in Stephen Whittaker’s adaptation of Nicholas Nickleby (2001) for ITV, starring Charles Dance, James D’Arcy and Sophia Myles. Roles followed in two one-off television dramas co-produced by HBO and the BBC. The first was Conspiracy (2001), a film surrounding the story of the Wannsee Conference in 1942 to consolidate the decision to exterminate the Jews of Europe. The film prompted Tom’s first encounter with Kenneth Branagh who took the lead role of Heydrich. The second project came in 2002 in the critically acclaimed and Emmy Award- winning biopic of Winston Churchill The Gathering Storm, starring Albert Finney and Vanessa Redgrave. Tom played the role of Randolph Churchill, Winston’s son, and cites that particular experience – working alongside Finney and Redgrave, as well as Ronnie Barker, Tom Wilkinson, and Jim Broadbent – as extraordinary; one that changed his perspective on the art, craft and life of an actor. Tom graduated from RADA in 2005, and within a few weeks was cast as Oakley in the British independent film Unrelated by first-time director Joanna Hogg. Unrelated tells the story of a woman in her mid-40s who arrives alone at the Italian holiday home of an extended bourgeois family. -
Brooklyn Academy of Music (BAM) Announces 2018 Next Wave
Brooklyn Academy of Music (BAM) announces 2018 Next Wave Festival, featuring 27 music, opera, theater, physical theater, dance, film/music, and performance art engagements, Oct 3—Dec 23 Bloomberg Philanthropies is the Season Sponsor Music/Opera Almadraba…………………… Oscar Peñas…………………………..…………………..page 3 Place…………………………. Ted Hearne, Saul Williams, Patricia McGregor………. page 6 The Ecstatic Music of Alice Coltrane …………………………..…………………………page 6 Satyagraha…………………...Philip Glass, Tilde Björfors, Folkoperan, Cirkus Cirkör..page 17 Savage Winter…………...….. Douglas J. Cuomo, Jonathan Moore, American Opera Projects, Pittsburgh Opera……………………………… page 19 Circus: Wandering City…….. ETHEL……………………………………………………. page 22 Greek………………………… Scottish Opera/Opera Ventures, Mark-Anthony Turnage, Joe Hill-Gibbins, Jonathan Moore, Stuart Stratford….. page 28 Theater The Bacchae…………………SITI Company, Anne Bogart, Aaron Poochigian…….. .page 4 Measure for Measure………. Cheek by Jowl, Pushkin Drama Theatre, Declan Donnellan, Nick Ormerod……………………….page 9 Jack &................................... Kaneza Schaal, Cornell Alston………………………… .page 10 Falling Out…………………… Phantom Limb Company……………………………….. .page 20 The Good Swimmer…………Heidi Rodewald, Donna Di Novelli, Kevin Newbury…. .page 25 The White Album…………….Early Morning Opera, Lars Jan, Joan Didion………… .page 26 NERVOUS/SYSTEM………..Andrew Schneider………………………………………...page 32 Strange Window: The Turn of the Screw…………………. The Builders Association, Marianne Weems…………..page 33 Physical theater Humans……………………… Circa, Yaron Lifschitz……………………………………..page -
By William Shakespeare Measure for Measure Why Give
Measure for Measure by William Shakespeare Measure for Measure Why give Welcome to our 2015 season with Measure for Measure. you me this Our Russian company were last here with The Tempest and we are delighted to be back. We are particularly grateful to shame? Evgeny Pisarev and Anna Volk of the Pushkin Theatre in Moscow, without whom this production would not have been possible. Act III Scene I Thanks also to Toni Racklin, Leanne Cosby, and the entire team at the Barbican, London for their continued enthusiasm and support, and to Katy Snelling and Louise Chantal at the Oxford Playhouse. We’d also like to thank our other co-producers, Les Gémeaux/ Sceaux/Scène Nationale, in Paris, and Centro Dramático Nacional, in Madrid, as well as Arts Council England. We do hope you enjoy the show… Declan Donnellan and Nick Ormerod Petr Rykov & Company 1 2 3 Cheek by Jowl in Russia In 1986, Russian theatre director Lev Dodin of Valery Shadrin, commissioned Donnellan invited Donnellan and Ormerod to visit his and Ormerod to form their own company of company in Leningrad. Ten years later, they Russian actors in Moscow. This sister company 4 5 6 directed and designed The Winter’s Tale performs in Russia and internationally and its for the Maly Drama Theatre, which is still current repertoire includes Boris Godunov running in St. Petersburg. Throughout the by Pushkin, Twelfth Night and The Tempest 1990s the Russian Theatre Confederation by Shakespeare, and Three Sisters by Anton regularly invited Cheek by Jowl to Moscow Chekhov. Measure for Measure is Cheek as part of the Chekhov International Theatre by Jowl’s first co-production with Moscow’s Festival, and this relationship intensified in Pushkin Theatre. -
Linguaculture 1, 2014
LINGUACULTURE 1, 2014 THE HOLLOW CROWN:SHAKESPEARE, THE BBC, AND THE 2012 LONDON OLYMPICS RUTH M ORSE Université-Paris-Diderot Abstract During the summer of 2012, and to coincide with the Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. The BBC commission was conceived as part of the Cultural Olympiad which accompanied Britain’s successful hosting of the Games that summer. I discuss the financial, technical, aesthetic, and political choices made by the production team, not only in the context of the Coalition government (and its attacks on the BBC) but also in the light of theatrical and film tradition. I argue that the inclusion or exclusion of two key scenes suggest something more complex and balanced that the usual nationalism of the plays'; rather, the four nations are contextualised to comprehend and acknowledge the regions – apropos not only in the Olympic year, but in 2014's referendum on the Union of the crowns of England/Wales and Scotland. Keywords: Shakespeare, BBC, adaptation, politics, Britishness During the summer of 2012, to coincide with the London summer Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. An additional series, Shakespeare Unlocked, accompanied each play with a program fronted by a lead actor discussing the play and the process, illustrated by clips from the plays in which they had appeared (“The Hollow Crown”). The producer was the Neal Street Production Company in the person of Sam Mendes, a well-known stage and cinema director, celebrated not least for an Oscar for American Beauty, a rare honour for a first-time film director. -
Fantastic Tricks Before High Heaven,” Measure for Measure and Performing Triads
Sacred Heart University DigitalCommons@SHU English Faculty Publications Languages and Literatures 2020 “Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads Emily Bryan Sacred Heart University, [email protected] Follow this and additional works at: https://digitalcommons.sacredheart.edu/eng_fac Part of the English Language and Literature Commons, and the Theatre and Performance Studies Commons Recommended Citation Bryan, E. (2020). “Fantastic tricks before high heaven,” Measure for measure and performing triads. Religions, 11(2), 100. Doi: 10.3390/rel11020100 This Peer-Reviewed Article is brought to you for free and open access by the Languages and Literatures at DigitalCommons@SHU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of DigitalCommons@SHU. For more information, please contact [email protected], [email protected]. religions Article “Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads Emily Bryan Department of Languages and Literatures, Sacred Heart University, 5151 Park Avenue, Fairfield, CT 06825, USA; [email protected] Received: 19 January 2020; Accepted: 19 February 2020; Published: 22 February 2020 Abstract: Reading Measure for Measure through the logic of substitution has been a long-standing critical tradition; the play seems to invite topical, political, and religious parallels at every turn. What if the logic of substitution in the play goes beyond exchange and seeks out a triadic logic instead? This insistent searching for the triad appears most notably in the performance of Measure for Measure by Cheek by Jowl (2013–2019). Cheek By Jowl’s strategies of touring, simplicity, movement, and liberation create a dynamic and ever-evolving performance. -
MEMO: Licensing Unit
APPENDIX B MEMO: Licensing Unit To Licensing Unit Date 22 April 2019 Copies From Jayne Tear Telephon 020 7525 0396 Fax e Email [email protected] Subject Re: Mountview Academy of Theatre Arts, 120 Peckham Hill Street, London SE15 5JT - Application for a premises licence I write with regards to the above application for the grant of a premises licence submitted by Mountview Academy of Theatre Arts Ltd under the Licensing Act 2003 which seeks the following licensable activities: • Late night refreshment (indoors ) on Sunday to Thursday from 23:00 to 00:00 and on Friday and Saturday from 23:00 to 01:00 the following day • The supply of alcohol (on and off the premises) on Sunday to Thursday from 10:00 to 00:00 and on Friday and Saturday from 10:00 to 01:00 the following day • Overall opening times shall be on to Monday to Thursday from 10:00 to 00:30 the following day; Friday and Saturday from 10:00 to 01:30 the following day and on Sunday from 10:30 to 00:30 the following day The premises is described as a ‘the application is Mountview Academy of Theatre Arts, which is an independent drama school situated on the border of the Peckham Cumulative impact Area. The application relates to a proposed food and beverage facility at rooftop level on the fourth floor of the drama school building’ My representation is based on the Southwark Statement of Licensing policy 2016 – 2020 and relates to the licensing objectives for the prevention of crime and disorder and the prevention of public nuisance This premises is situated in Peckham Major Town Centre Area and under the Southwark Statement of Licensing policy 2016 - 2020 the appropriate closing times are as follows: • Restaurants and cafes on Sunday to Thursday is 00:00 hours and for Friday and Saturday is 01:00 hours • Public houses, wine bars or other drinking establishments on Sunday to Thursday is 23:00 hours and for Friday and Saturday 00:00 hours. -
AS and a Level Drama and Theatre
Topic Exploration Pack Practitioners: Cheek by Jowl Theatre Company Foreword by Karen Latto – OCR Subject Specialist Drama As part of our resources provision I was keen to ensure that the resources have been created by experts in Drama and in Education. For our practitioner requirement, this included resources which were made by working Theatre Makers about their own company’s practice and working methods. I would like to thank the team at Cheek by Jowl for creating this resource for OCR to support AS and A Level teachers. This resource has been created by Declan Donnellan and Nick Ormerod alongside Cheek by Jowl’s Education Officer Dominic Kennedy and talks from their perspective as working practitioners in the field of Theatre. Cheek by Jowl................................................................................................................................. 2 Repertoire .......................................................................................................................................2 Études ............................................................................................................................................5 Additional teacher preparation ......................................................................................................11 Activity 1: Études exercise ............................................................................................................12 Activity 2: Imaginary and pre-text exercise ................................................................................... -
Troilus and Cressida: for Cheek by Jowl at the Barbican Theater by Peter Smith
Troilus and Cressida: for Cheek by Jowl at the Barbican Theater by Peter Smith. Written on 2008-06-30. First published in the ISE Chronicle. For the production: Troilus and Cressida (2008, Cheek by Jowl, UK). Very little, insisted Declan Donnellan’s Troilus and Cressida, separates beauty and the beast. Perhaps the most heavily symbolic scene in the entire production was the battle between Greek soldiers (in black vests and body armour) and Trojans (dressed equivalently in white). In their midst, as the ignorant armies clashed around her, proudly gesturing from her pedestal, was the visually stunning Helen of Troy (Marianne Oldham) in a long, brilliant-white, Grace Kelly, décolleté ball-gown which ended in a fish-tail of gathered lace, complete with diamond choker and long, silk, elbow-length gloves: “For every false drop in her bawdy veins / A Grecian’s life hath shrunk; for every scruple / Of her contaminated carrion weight / A Trojan hath been slain” (IV.1.70-3). In giving Helen the prologue to speak, Donnellan allowed an apparently neutral account of the action thus far (for the play, we are told, is “Beginning in the middle” [28]) to be inflected by Helen’s own viewpoint. She glided gracefully in and out of a column of Greek warriors, who stood frozen, poised with swords erect and bearing full-length shields. As she listed, in epic catalogue, the gates of Troy (16-17), she giggled at the calamity of which she was the origin. As she spoke of the “instruments / Of cruel war” (4-5), she prick- teasingly touched the tip of a sword and smiled at the sway she held over masculine desire and brutality.