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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). -
T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE of SOCIAL SCIENCES the CRITIQUE of NEOLIBERALISM in DAVID HARE's PLAYS Phd THESİS Ha
T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE OF SOCIAL SCIENCES THE CRITIQUE OF NEOLIBERALISM IN DAVID HARE’S PLAYS PhD THESİS Hakan GÜLTEKİN Department of English Language and Literature English Language and Literature Program Thesis Advisor: Assoc. Prof. (Ph. D.) Ferma LEKESİZALIN June, 2018 ii T.C. ISTANBUL AYDIN UNIVERSITY INSTITUTE OF SOCIAL SCIENCES THE CRITIQUE OF NEOLIBERALISM IN DAVID HARE’S PLAYS PhD THESİS Hakan GÜLTEKİN (Y1414.620014) Department of English Language and Literature English Language and Literature Program Thesis Advisor: Assoc. Prof. (Ph. D.) Ferma LEKESİZALIN June, 2018 ii iv DECLARATION I hereby declare that all information in this thesis document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results, which are not original to this thesis. ( / /2017). Hakan GÜLTEKİN v vi FOREWORD I would like to express my appreciation to my supervisor Assoc. Prof. Dr. Ferma LEKESĠZALIN for her persistent encouragement, guidance, patience, and Dr. Ahmet Gökhan BĠÇER for his erudite comments and invaluable contribution. I am also indebted to Dr. Öz ÖKTEM and Dr. Gamze SABANCI UZUN for supporting me in Istanbul Aydin University days. I would also like to thank Prof. Dr. Mehmet TAKKAÇ for his suggestions. Special thanks go to Prof. Dr. Ġbrahim YEREBAKAN and Dr. Mesut GÜNENÇ, whose encouragements have been of particular note here. I am also grateful to Assoc. Prof. Dr. Gillian Mary Elizabeth ALBAN, Dr. Hüseyin EFE, Dr. Arsev AyĢen ARSLANOĞLU YILDIRAN, Sercan ÖZTEKĠN and Florentina GÜMÜġ for their help during the creation phase of my thesis. -
The Judas Kiss Directed by Michael Michetti
Contact: Niki Blumberg, Tim Choy 323-954-7510 [email protected], [email protected] Boston Court Pasadena presents David Hare’s The Judas Kiss Directed by Michael Michetti February 15 – March 24 Press Opening: February 23 2019 Theatre Season Sponsored by the S. Mark Taper Foundation PASADENA, CA (January 17, 2019) — Boston Court Pasadena commences the 2019 theatre season with a rare production of David Hare’s The Judas Kiss (February 15 – March 24), which tells the story of Oscar Wilde’s love for Lord Alfred “Bosie” Douglas – and tracking his downfall as he endures a brutal trial and life in exile. Helmed by Artistic Director Michael Michetti, the play examines a literary icon who continues to hold onto his passionate ideals of love and beauty as his life crumbles around him. Sir David Hare, the British playwright behind Plenty, Skylight, and Stuff Happens creates “an emotionally rich drama illuminated by Hare’s customary insight and humanity.” (The Globe and MaiI). The Judas Kiss features Rob Nagle (Oscar Wilde), Colin Bates (Lord Alfred “Bosie” Douglas), Darius De La Cruz (Robert Ross), Will Dixon (Sandy Moffatt), Matthew Campbell Dowling (Arthur Wellesley), Mara Klein (Phoebe Cane) and Kurt Kanazawa (Galileo Masconi). In spring of 1895, Oscar Wilde was larger than life. His masterpiece, The Importance of Being Earnest, was a hit in the West End and he was the toast of London. Yet by summer he was serving two years in prison for gross indecency. Punished for “the love that dare not speak its name,” Wilde remained devoted to his beloved, Lord Alfred “Bosie” Douglas. -
Front Matter
Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information the cambridge companion to david hare David Hare is one of the most important playwrights to have emerged in the UK in the last forty years. This volume examines his stage plays, television plays and cinematic films, and is the first book of its kind to offer such comprehen- sive and up-to-date critical treatment. Contributions from leading academics in the study of modern British theatre sit alongside those from practitioners who have worked closely with Hare throughout his career, including former Director of the National Theatre Sir Richard Eyre. Uniquely, the volume also includes a chapter on Hare’s work as journalist and public speaker; a personal mem- oir by Tony Bicat,ˆ co-founder with Hare of the enormously influential Portable Theatre; and an interview with Hare himself in which he offers a personal ret- rospective of his career as a film maker which is his fullest and clearest account of that work to date. A complete list of books in the series is at the back of this book. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information THE CAMBRIDGE COMPANION TO DAVID HARE EDITED BY RICHARD BOON University of Hull © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521615570 C Cambridge University Press 2007 This publication is in copyright. -
Politics and the Humanistic Pose: David Hare's 'Wall'
www.ssoar.info Politics and the Humanistic Pose: David Hare's 'Wall' Azad, Bahareh; Pirnajmuddin, Hossein Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Azad, B., & Pirnajmuddin, H. (2013). Politics and the Humanistic Pose: David Hare's 'Wall'. International Letters of Social and Humanistic Sciences, 3, 30-36. https://doi.org/10.18052/www.scipress.com/ILSHS.3.30 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY Lizenz (Namensnennung) zur This document is made available under a CC BY Licence Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden (Attribution). For more Information see: Sie hier: https://creativecommons.org/licenses/by/4.0 https://creativecommons.org/licenses/by/4.0/deed.de International Letters of Social and Humanistic Sciences Online: 2013-09-25 ISSN: 2300-2697, Vol. 3, pp 30-36 doi:10.18052/www.scipress.com/ILSHS.3.30 © 2013 SciPress Ltd., Switzerland Politics and the Humanistic Pose: David Hare’s Wall Bahareh Azad*, Hossein Pirnajmuddin** Department of English Language, Faculty of Foreign Languages, University of Isfahan, Daneshgah Street, Azadi Square - 8174673441, Iran *,**E-mail address: [email protected] , [email protected] Colonialism is not best understood primarily as a political or economic relationship that is legitimized or justified through ideologies of racism or progress. Rather, colonialism has always, equally importantly and deeply, been a cultural process; its discoveries and trespasses are imagined and energized through signs, metaphors and narratives; even what would seem its purest moments of profit and violence have been mediated and enframed by structures of meaning. Colonial cultures are not simply ideologies that mask, mystify or rationalize forms of oppression that are external to them; they are also expressive and constitutive of colonial relationships in themselves. -
1 the Experience of Immediacy: Emotion and Enlistment in Fact
CORE Metadata, citation and similar papers at core.ac.uk Provided by Central Archive at the University of Reading The experience of immediacy: Emotion and enlistment in fact-based theatre Lib Taylor, University of Reading Keywords emotional enlistment In-Yer-Face theatre documentary theatre state-of-the-nation drama immediacy political theatre In the early years of the twenty-first century, critical discourses characterizing the theatre of the foregoing decade increasingly shared common ground in the distinctions and family resemblances that they identified. This was a moment when, suddenly and retrospectively, commentators on British theatre told the story of the recent past in similar and overlapping ways. Aleks Sierz’s popular book prompted the identification of a ‘new brutalist’ theatre of the 1990s under the name In-Yer-Face Theatre (2001). This was a trend in theatre that, for Sierz, was characterized by the deliberate development of a confrontational form of ‘direct’ and ‘immediate’ theatre to cultivate an emotionally engaged audience. Chris Megson argues that the post-Thatcherite 1990s saw a renaissance in theatre writing based in ‘directness’ and ‘immediacy’ (Megson 2006: 529–32).1 For Megson, this tendency can be traced in those two strands of British theatre that flourished in the final years of the twentieth and the early years of the twenty-first 1 centuries: alongside the explosion of new work by young playwrights of the ‘In- Yer-Face’ movement, identified by Sierz, Megson places the revival in documentary and verbatim theatres about urgent, real events. Taking account of its critical, formal and political relationship with In-Yer-Face theatre, this article will develop Megson’s proposition and argue that what fact-based theatre shares with much new writing of the 1990s is an attempt to channel emotion and feeling (sensation) as a way of engaging the audience. -
Indian Railways Permanent Way Manual
dsoyljdkjhmi;ksxgsrq For Official Use Only lR;eso t;rs Hkkjr ljdkj jsy ea=ky; (jsyos cksMZ) GOVERNMENT OF INDIA MINISTRY OF RAILWAYS (RAILWAY BOARD) Hkkjrh; jsy jsy iFk fu;ekoyh INDIAN RAILWAYS PERMANENT WAY MANUAL Second Reprint 2004 INTERNET VERSION - Embodying all advance correction slips upto number 100 dated 21-06-2006 FOREWORD (to First Edition) The “Indian Railways Way and Works Manual” incorporating uniform procedure and practices to be followed on Indian Railways was first published in 1954. With the introduction of modernization of track structure, Mechanical maintenance of track and introduction of high speed trains in seventies and thereafter, the provisions in the manual relating to track needed updating. This has now been done by bringing out a separate “Indian Railways Permanent Way Manual”. It is hoped that the procedures and practices envisaged in the manual will help the Permanent Way men in maintaining the track to better standards, ensuring safety, economy and efficiency. New Delhi, T. N. RAMACHANDRAN Dated 17th July 1984 Member/Engineering, Railway Board PREFACE (to First Edition) The Indian Railways Way and Works Manual was last published in l967. Since then there have been considerable changes in the Track Standards, Maintenance practices and Track Monitoring. The Track Standards Committee had, vide Item 678 of the 49th Report, recommended the appointment of an Officer on Special Duty by the Railway Board for revising the Way and Works Manual. The Committee also recommended that the revised manual should be split into three separate parts, for Permanent Way, Bridges and Works. Pursuant to the above recommendations of the T.S.C., the following three officers worked in succession as Officers on Special Duty and compiled this part of the manual dealing with Permanent Way : Shri Y.G.Patwardhan . -
Voice, Body and the Transmission of the Real in Documentary Theatre
Voice, body and the transmission of the real in documentary theatre Article Accepted Version Taylor, L. (2013) Voice, body and the transmission of the real in documentary theatre. Contemporary Theatre Review, 23 (3). pp. 368-379. ISSN 1477-2264 doi: https://doi.org/10.1080/10486801.2013.806318 Available at http://centaur.reading.ac.uk/33712/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://dx.doi.org/10.1080/10486801.2013.806318 To link to this article DOI: http://dx.doi.org/10.1080/10486801.2013.806318 Publisher: Routledge All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Lib Taylor Film, Theatre & Television University of Reading Voice, body and the transmission of the real in documentary theatre For the actor in the verbatim work of playwright Alecky Blythe, listening to recorded speech is the key means to shape performance, and on stage the performer’s body as much as his or her voice makes public the aural material ingested through the ear. The creation and delivery of performance by means of listening, speaking and embodiment in Blythe’s London Road,1 her recent musical play at London’s National Theatre, modified theatre strategies used in her other plays, including Come Out Eli,2 Cruising,3 The Girlfriend Experience4 and Do We look Like Refugees.5 To examine affective listening in the development of Blythe’s performances, I have interviewed two performers who were part of The Girlfriend Experience project, Beatie Edney6 and Esther Coles,7 and also interviewed Blythe8 herself. -
A Bibliography on the Design and Performance of Rail Track Structures
A BIBLIOGRAPHY ON THE DESIGN AND PERFORMANCE OF RAIL TRACK STRUCTURES Robert H. Prause Helen C. Pestel Ronald H. Melvin Of TR4 a,, ( SEPTEMBER 1974 FINAL REPORT DOCUMENT IS AVAILABLE TO THE PUBLIC THROUGH THE NATIONAL TECHNICAL INFORMATION SERVICE, SPRINGFIELD VIRGINIA 22151. Prepared for u.s. DEPARTMENT OF TRANSPORTATION URBAN MASS TRANSPORTATION ADMINISTRATION Office of Research and Development Washington DC 20590 NOTICE The contents of this report reflect the views of Battelle-Columbus Laboratories, which is responsible for the facts and the accuracy of the data presented herein. The contents do not necessarily re- flect the official views of the Department of Transportation. This report does not constitute a standard, specification or regulation. 0 rscVo Technical Report Documentation Page Report No. UwTft' 2. Government Accession No. 3. Recipient’s Catalog No. UMTA-MA-06-0025-74-7 Title and Subtitle 5. Report Data A BIBLIOGRAPHY ON THE DESIGN AND PERFORMANCE September, 1974 OF RAIL TRACK STRUCTURES 6. Performing Organization Code 8. Performing Organization Report No. 7. Authors) DOT-TSC-UMTA-74-ll . Robert H. Prause , Helen C. Pestel, Ronald H. Melvin 9. Performing Organization Norr^e and Adctrelss 10. Work Unit No. (TRAIS) Battelle-Columbus Laboratories* 1 1A- 6-0025 505 King Avenue 1 1 . Contract or Gront No. Columbus OH 43201 DOT-TSC-5 63 13. Type of Report ond Period Covered 12. Sponsoring Agency Name and Address Final Report U.S Department of Transportation March, 1973 - July, 1974 Urban Mass Transportation Administration Office of Research and Development 14. Sponsoring Agency Code Washington DC 20590 15. Supplementary Notes U.S. -
From Peritext to Text: Constructing Authorship in David Hare's
Academic Journal 119 of Modern Philology Ewa Kębłowska-Ławniczak Institute of English, University of Wrocław ISSN 2299-7164 Vol. 7 (2018) From Peritext to Text: Constructing Authorship in David s. 119–129 Hare’s Selected Plays Abstract The article examines the ways in which two autographic peritexts tie in with the main texts of two verbatim plays they precede. The discussion addresses the question of transactions between peritext and text in view of interrelated aspects. Invoking background knowledge and the context of other verbatim plays, the inquiry concentrates mainly on The Permanent Way and Stuff Happens, staged in the years 2003-2004. While the main inquiry concerns the broader subject of constructing authorship in peritext, the further question involves the use of narrative frameworks to connect the peritext with the main text. The analysis concentrates on the ways a writer asserts, or declares, and stages his authorship, sometimes his authority, originating the process with significant enunciations in the prefatorial zone. Dealing with verbatim plays, the article invites reflection on the nexus of authorship, authority, authorization or authentication and “truth”. Keywords: peritext, authorship, narrative, verbatim drama, David Hare. 1. Introduction: Situating oneself The present article focuses on the relationship between the peritext1 and main text in Stuff Happens and The Permanent Way. Considering the complex mode of existence of plays, it is necessary to situate the discussion in what Stanley Fish defines as an “interpretative community” (1980:343). Hence the sub- sequent considerations are based on the assumption that plays take the form of texts and performances. Leaving behind the earlier dispute between the theatrical and the literary approach, this analysis follows reflections of Manfred Jahn, who distinguishes three lines of study in the reception-oriented theories of drama labelling them “Poetic Drama”, “Theatre Studies” and “Reading Drama” (2001:660). -
GCE AS / a LEVEL the ABSENCE of WAR by DAVID HARE
GCE AS / A LEVEL THE ABSENCE OF WAR By DAVID HARE THE ABSENCE OF WAR DAVID HARE GCE AS \ A LEVEL \\ © WJEC CBAC Ltd 2016 THE ABSENCE OF WAR By DAVID HARE THE ABSENCE OF WAR – DAVID HARE ‘Britain’s leading contemporary playwright’ - The Times ‘The Absence of War’ is the final play in a trilogy looking at the state of Britain in the early 1990s. The three plays examine institutions within Britain and the effects of a Conservative Government on these institutions. The first play ‘Racing Demon’ (1990) examined the Church of England The second play ‘Murmuring Judge’ (1991) examined the judicial system. The third play ‘The Absence of War’ (1993) examined the world of politics. DAVID HARE Hare has been a prolific playwright since the 1960s. He was born in 1947 and grew up in the fervent atmosphere of the 1960s. He has a great interest in films and this has influenced his writing technique. He co-founded Portable Theatre Company, acting, directing and writing plays. Slag was first produced in London in 1970 at the Hampstead Theatre Club. He was Resident Dramatist at the Royal Court Theatre in London in 1970-1 and Resident Dramatist at the Nottingham Playhouse in 1973. He co-founded Joint Stock Theatre Group with David Aukin and Max Stafford-Clark in 1975, and held a US/UK Bicentennial Fellowship in 1977. GCE AS \ A LEVEL \\ © WJEC CBAC Ltd 2016 THE ABSENCE OF WAR By DAVID HARE His plays include: Knuckle (1974), winner of the Mail on Sunday John Llewellyn Rhys Prize Fanshen (1975), based on the book by William Hinton Plenty (1978), a portrait of -
Plays in Translation on the London Stage: Visibility, Celebrity, Agency and Collaboration
Plays in Translation on the London Stage: Visibility, Celebrity, Agency and Collaboration Geraldine Susan Brodie University College London PhD Thesis in Translation Studies 2 DECLARATION I, Geraldine Susan Brodie, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 ABSTRACT The theatrical practice of prominently attaching a well-known theatre practitioner’s name to a staged playtext, which may have been composed using an expert’s literal translation, raises issues of visibility and agency in translation theory. How does the ‘celebrity’ translator contribute to the eventual performance and the collaborative process of production? This thesis conducts an empirical study on a time-based sample of eight translated plays performed on the mainstream London stage during a three-month period in 2005. The sample comprises direct, indirect and literal translators from a variety of professional backgrounds, and the plays range from Ancient Greek to contemporary Danish. Methodologies include archival investigations and oral histories. Firstly, I scrutinise the physical and economic contexts of the productions, analysing the sites of commission and performance, including a review of funding and management practices. Secondly, I examine the translation procedures of the eight plays, the collaboration of the translation and theatre practitioners and the relation of the translated playtext to the source-language play and earlier translations, where relevant. I consider the terminology presented to the prospective audience as translation, version or adaptation, and review reception. Thirdly, based on my interview research, I discuss the approaches adopted by the practitioners involved in the translation project, from inception to public performance, including producers, directors, literary managers, translators and writers.