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Annual Review 2001 Contents
accounts and lottery report annual review 2001 Contents 3 Welcome 4 Arts Council of England grant-in-aid accounts 27 Grants awarded 2000/01 39 Arts Council of England lottery distribution accounts 61 National Lottery Report 2000/01 78 Advisory Panels 79 Regional Arts Boards 4 Arts Council of England grant-in-aid accounts 25 Grants awarded 1999/2000 44 Arts Council of England lottery distribution accounts 64 National Lottery Report 1999/2000 78 Advisory Panels 79 Regional Arts Boards THE ARTS COUNCIL OF ENGLAND 2 Welcome to the Arts Council of England’s Annual Review for 2001 – Accounts and Lottery Report The Arts Council is the national body for the arts in England. We distribute public money from Government and the National Lottery to artists and arts organisations, both directly and through the 10 English regional arts boards. As an independent, non-political body,working at arm’s length from Government, we champion the arts — promoting the importance of artistic endeavour to the economic, physical, social and, not least, spiritual well-being of the country.We commission research, promote innovation in the arts, and provide advice and information. Our strategic priorities are to bring the arts to a wider audience, support the individual artist, nurture creativity across the generations, embrace the diversity of our culture and explore new forms of expression. In 2000 we successfully made the case to Government for a substantial increase in public funding for the arts.This review sets out how we are using this money and our plans for ensuring that England’s artists and arts communities remain among the most dynamic, vibrant and resourceful in the world. -
Demarcating Dramaturgy
Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement. -
La Femme Fantôme
LA FEMME FANTÔME (THE BOGUS WOMEN) de Kay Adshead Mise en scène Michael Batz Retour en 2020/21 du grand succès créé en 2003 au Théâtre Gérard Philipe de Saint-Denis CDN et joué plus de 150 fois ! (Théâtre Vidy Lausanne, Théâtre National de Toulouse, les scènes nationales de Cergy-Pontoise, Guadeloupe, Bar-le-Duc, festival européen de Stuttgart, CDN de Limoges, Théâtre de Poche à Bruxelles...) 06 16 53 00 84 [email protected] La Femme Fantôme de Kay Adshead Mise en scène et scénographie : Michael Batz Traduction : Séverine Magois Collaboration artistique : Valérie Suner Lumière : Julia Grand Musique : Julien Goualo Assistante mise en scène : Alice See Costumes : Monique Proville Décor et son : réalisés dans les ateliers du Théâtre Gerard Philipe Avec : Laurence Joseph ou Carole Karemera ou Wilda Philippe et Siborgile Mbambo ou Manou Gallo ou Fafa Ruffino «...une phénoménale vélocité dans le caméléonisme. ...après ceux de Sellars, de Mnouchkine, un autre spectacle sur la vérité des choses, la tristesse du monde » - Mathilde De La Bardonnie« (Libération). « La performance brillante et le chant profond donnent toute sa dignité à cette cantate du désespoir » (Le Monde) « C'est fort, éclairant, émouvant. Avec des moyens nobles. Michael Batz réussit son entrée avec cette espèce de procès kafkaïen...» J.P. Léonardini (L'Humanité) « Du théâtre politique? Oui. Qui s'insurge, pourfend, dénonce, l'injustice comme l'intolérance. Avec ses armes à lui, la poésie, la sincérité....Tour de force ! » Michel Caspary (24Heures - Lausanne) Coproduction Théâtre Gérard Philipe de Saint Denis L'Apostrophe-Scène Nationale Cergy-Pontoise Théâtre Vidy-Lausanne ETE Résumé C'est après avoir pris connaissance de l'histoire de nombreux demandeurs d'asile en Angleterre et étudié de près le compte rendu du procès intenté aux détenus de Campsfield qui s'étaient révoltés, en 1994, contre leurs conditions de détention, que Kay Adshead a entrepris d'écrire The Bogus Woman. -
Ireland Rediscovered in Kennington Baby Blues in Islington Noel And
Your free guide to the best in independent London theatre FIRST www.firstactmagazine.com Issue 015 March A 2008 CT Noel And Marlene In Hampstead The House Of Agnes At The House Of Oval Baby Blues In Islington Ireland Rediscovered In Kennington 2 incredibly complex lyrics is quite a feat, and speaking as one who has done a number of Coward plays, I think it takes a particular kind of discipline to perform them. Unlocking “A lot of the scenes are made up of one-liners which go bang, bang, bang, bang, bang, and you’ve got to be so on the ball to play them, with one ear on whether the audience are laughing in the The Mystery right places and one ear on the other actors. There’s a particular type of discipline required to do that. “Marlene, being German, had her own particular type of discipline too, and strength of character, That Is because she had to put up with a hell of a lot of ghastliness when she was touring during the war with the American forces.” Among the lesser-known facts about Kate O’Mara is that she once had a number one hit. In Finland. It’s not a fact she seems particularly keen to dwell on, but how has she coped with the musical element of the role? “I consider myself an requiredactress who can sing when requires – when – rather than a singing actress,” she says, “and like a lot of actresses who can sing, I’ve got a soprano and a basso profundo and not much in between. -
‚Gutes' Theater
VS PLUS Zusatzinformationen zu Medien des VS Verlags ‚Gutes’ Theater Theaterfinanzierung und Theaterangebot in Großbritannien und Deutschland im Vergleich 2011 | Erstauflage Anhang Tabellen [Text eingeben] www.viewegteubner.de www.vs -verlag.de Inhaltsverzeichnis Tab. 1: Internationale Definitionen von Kultur, Kultursektor, Kulturindustrien....................................4 Tab. 2: Kulturfinanzierung, GB, 1998/99, in ₤ Mio. und %...................................................................5 Tab. 3: Zentralstaatliche Kulturförderung in GB, 1998/99, in ₤ Mio. und %......................................... 5 Tab. 4: Anteil Kultursponsoring am BIP, D vs. GB, 1999-2007............................................................5 Tab. 5 Production categories , TMA (Beschreibung der Sparten für die Umfrage), ab 1993 ...............6 Tab. 6a: Production categories , SOLT .................................................................................................... 7 Tab. 6b: Sub genres und other production criteria , SOLT ......................................................................7 Tab. 7: Verteilung der deutschen Theater nach Träger, 1990-2005 .......................................................8 Tab. 8: Verteilung Rechtsträger und -formen der deutschen öffentlichen Theaterunternehmen............ 8 Tab. 9: Londoner Theater (SOLT-Mitgliedschaft).................................................................................9 Tab. 10: Wichtigste Londoner Theater, A-Z, Sitzplatzkapazitäten, Eigentümer/ Betreiber.................. -
Theatre Assessment 2009 Arts Council England > Theatre Assessment > 2
theatre assessment 2009 Arts Council England > theatre assessment > 2 I have seen theatre change more in the ‘ last five years than in the previous 30 years…those changes have been about where we make theatre, who we make theatre for, the form that it takes, the tools that you use, and I think that theatre makers are exploring all those things in a very, very exciting way that previously has just never happened. There is now no going back. – Lyn Gardner, April 2009 ’ Arts Council England > theatre assessment > Contents 3 Contents Arts Council England > theatre assessment > Overview 4 The research for the assessment was operate, National Lottery funding supported Overview carried out during the summer and autumn the recovery and stabilisation of organisations of 2008, just as the credit crunch was facing difficulty and Grants for the arts gave beginning. The mood was therefore infected funding to many for the first time. Arts Council England embarked by fear of what was to come, even though on a Theatre Assessment to gather the period under review was one of growth. The theatre sector was changing too. an up-to-date picture of theatre Recent graduates from the burgeoning in England. In particular, we We commissioned factual analysis and number of performing arts courses were looked to identify changes that a survey of perceptions about the current developing work across artforms in non- had occurred in the theatre sector state of theatre in England. The findings theatre spaces using modern technology, of both can be found in the appendix. work for children and young people was and its environment since the becoming more mainstream, diverse work Theatre Review of 2001 and the The external context in which theatres and was slowly becoming a more regular feature additional £25 million that we theatre artists operate as well as theatre of theatre programmes, and physical theatre invested in theatre organisations practice changed substantially between was increasingly featured in the programmes from 2003 onwards. -
Different Stages Conference Report
Federation of Scottish Theatre; Playwrights’ Studio, Scotland Royal Conservatoire of Scotland; Scottish Society of Playwrights Different Stages Conference Report 11th & 12th November 2015 1 Contents 1. Introduction and executive summary ........................................................... 3 2. DIFFERENT STAGES DAY 1 – SCHEDULE FOR WEDNESDAY 11 NOVEMBER ....... 5 3. Welcome to Different Stages from Hugh Hodgart, Director of Drama, Dance, Production & Screen, Royal Conservatoire of Scotland.................................... 6 4. Keynote speech from Fin Kennedy, playwright and Artistic Director of Tamasha Theatre Company ...................................................................................... 7 5. Keynote speech from Julie Ellen, Artistic Director, Macrobert Arts Centre, Stirling ............................................................................................................. 23 6. Presentation from Christine Hamilton Consulting ......................................... 25 7. Exploratory discussions ............................................................................ 32 7.1 Scotland: A Place for Playwrights? Fraser White from Christine Hamilton Consulting .......................................................................................................................................................... 32 7.2 Short Plays ........................................................................................................................................................ 39 7.3 Shared Authorship -
Luke Treadaway
www.hamiltonhodell.co.uk Luke Treadaway Talent Representation Telephone Madeleine Dewhirst & Sian Smyth +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Film Title Role Director Production Company A STREET CAT NAMED BOB James Bowen Roger Spottiswoode Shooting Script Films Winner of the Best British Film Award, National Film Awards, 2017 Raymond Briggs ETHEL AND ERNEST Roger Mainwood Lupus Films (Voice) THE RACK PACK Alex Higgins Brian Welsh BBC/Zeppotron UNBROKEN Miller Angelina Jolie Universal Pictures THE RISE Harvey Rowan Athale Moli/Mischief Films CHEERFUL WEATHER FOR THE WEDDING Joseph Patten Donald Rice Cheerful Weather Productions FOR THE FIRST TIME James Charles Mehling i love 2, LLC YOU INSTEAD Adam David Mackenzie Sigma Films MAN IN FEAR Anthony Fox Will Jewell Fractured Films Limited LATE BLOOMERS Benjamin Julie Gavras Late Bloomers Productions ATTACK THE BLOCK Winner of the Audience Award, LA Film Festival, 2011 Winner of the Midnight Screeners Audience Award, South By Southwest Film Brewis Joe Cornish Big Talk Productions Festival, 2011 Nominated for the Best Film Award, South Bank Sky Arts Awards, 2012 ALICE White Rabbit Marianne Elliott Ruby Films KILLING BONO Rick Nick Hamm Cinema Three THE WHISTLEBLOWER Jim Higgins Larysa Kondracki Barry Films CLASH OF THE TITANS Prokopion Louis Leterrier Warner Bros. HEARTLESS Lee Philip Ridley Cross Day Productions VIKO Viko Larysa Kondracki Viko Productions GOD'S WOUNDS Mark Wayne Holloway RSA Films BROTHERS OF -
Poetická Krutost? Nad Dramatickou Tvorbou Dennise Kellyho
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Ateliér režie a dramaturgie Divadelní dramaturgie Poetická krutost? Nad dramatickou tvorbou Dennise Kellyho Bakalářská práce Autor práce: Sabina Machačová Vedoucí práce: prof. PhDr. Miroslav Plešák Konzultant: MgA. Marek Horoščák, Ph.D. Oponent práce: PhDr. Pavel Aujezdský Brno 2012 Bibliografický záznam MACHAČOVÁ, Sabina. Poetická krutost? Nad dramatickou tvorbou Dennise Kellyho. [Poetic Cruelty? About dramatic work of Dennis Kelly]. Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér režie a dramaturgie, rok 2012. Vedoucí diplomové práce prof. PhDr. Miroslav Plešák. Anotace Diplomová práce „Poetická krutost?“ pojednává o dramatické tvorbě současného britského dramatika Dennise Kellyho. Na základě analýzy jednotlivých her se snaží pojmenovat jejich společné prvky a uvést je do širších historicko-uměleckých souvislostí: jejich návaznost na dramatiku 20. století a motivy vycházející z politicko- společenské situace. Annotation Diploma thesis „Poetic Cruelty?” deals with dramatic work of contemporary british playwright Dennis Kelly. On the basis of analysis of particular plays the diploma thesis tries to term their common elements and to introduce them into historical and artistic circumstances: their continuity of dramatic works of 20 th Century and themes proceeded from political and social situation. Klíčová slova Dennis Kelly - in-yer-face – Debris – Usáma je hrdina – Láska a peníze – Bohové roní slzy – Sirotci Keywords Dennis Kelly - in-yer-face – Debris – Osama The Hero – Love and Money – The Gods Weep – Orphans Prohlášení Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. Současně dávám svolení k tomu, aby tato diplomová práce byla umístěna v Knihovně JAMU a používána ke studijním účelům. -
And the Theatre
JBJB and the TheatrePriestley lthough Priestley’s scope as a writer was exceptionally wide, Often criticised for his experimentation, Priestley’s most considerable contribution to his novels, essays and critiques abound with theatrical the stage was his expansion of theatre from the solid traditions of English realism – “I A references, and it is clear that his mind was never far from took such dramatic technique as I possessed as far as it would go…trying to make my the world of footlights and greasepaint, even if the relationship he characters outside ordinary passing time altogether and to create…a four-dimensional had with the stage was far from settled. From the moment he left drama.” His plays are set in dining rooms, sitting rooms and studies, and are populated “the decent calm of publishers’ offices for the gaudy merry-go- with recognisable characters using realistic speech in order “to make scenes out of round of the Theatre”, JB was torn between his passion for every people who don’t want to make a scene”. He is experimental in the way his ambitious aspect of writing and production and his hatred of the climate and content adapted to the harsh demands of form – his news ideas and theories of life are atmosphere in which producers were made to operate to satisfy the introduced to a safe, naturalist reality in order to examine how his characters – and how hollow demands of audiences after “bland, silly entertainment”. his audience – will react. He was disappointed by the harsh truth that success and failure “is largely determined by chance and accident”, and was more than often frustrated by the whims of his critics who attacked his work from the very beginning. -
THE UNIVERSITY of HULL Autobiography, Memory and The
THE UNIVERSITY OF HULL Autobiography, Memory and the Playwright being a Thesis submitted for the Degree of PhD in the University of Hull by Sarah Jane Dickenson (December 2014) For my mother With thanks to: Martin Goodman, Valerie Sanders, Viv Kerridge, and the Drama students of the University of Hull both past and present. Note: Some parts of this thesis have already been published. That Berlin Moment is published by Barbican Press (2014). Some of the material focusing on Anthony Minghella has been published under the title “Anthony Minghella: Autobiographical Memory and the Creation of an Adapted Screenplay” (Journal of Adaptation in Film and Performance. 6.2 (2013): 291-304.) 2 Contents Abstract page 4 Introduction page 5 Chapter One: Autobiography, memory and intent page 12 Chapter Two: Autobiography, memory and adaptation in the scripts of Anthony Minghella, Richard Bean and James Graham page 20 Chapter Three: That Berlin Moment page 68 Chapter Four: The creation of That Berlin Moment page 129 Chapter Five: Petticoat Lane page 149 Chapter Six: The creation of Petticoat Lane page 286 Conclusion page 296 Works Consulted page 301 3 Abstract The thesis is made up of two plays and a piece of writing that is a reflection and critical sharing of a developmental and critical process of writerly development. The thesis explores the use of memory and autobiography in playwriting and is concerned with the development and enhancement of playwriting through a process experienced and analysed by its author. The work draws upon recent psychological research into memory, particularly the idea that memories can be manipulated. -
Sallis-Tamzin
UNIVERSITY OF WINCHESTER A front line analysis of controversy and censorship in contemporary British theatre. Tamzin Sallis ORCID Number: 0000-0002-9007-4753 Doctor of Philosophy 8th May 2019 The wordcount is 90,328 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester Declaration, Copyright and Intellectual Property Rights Statement Declaration: No portion of the work referred to in the Thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. I confirm that this Thesis is entirely my own work. I confirm that no work previously submitted for credit has been reused verbatim. Any previously submitted work has been revised, developed and recontextualised relevant to the thesis. I confirm that no material of this thesis has been published in advance of its submission. I confirm that no third party proof-reading or editing has been used in this thesis. Copyright: © Tamzin Sallis 2019, A front line analysis of controversy and censorship in contemporary British theatre. University of Winchester PhD Thesis, pp 1-248. ORCID 0000-0002-9007-4753. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Copies (by any process) either in full, or of extracts, may be made only in accordance with instructions given by the author. Details may be obtained from the RKE Centre, University of Winchester. This page must form part of any such copies made.