Brecht in Britain
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'I Have Enormous Sadness In
THETIMESThursdayDecember102009 THETIMESThursdayDecember102009 arts times2 615 MAIN IMAGE: CHRIS HARRIS FOR THE TIMES plots,castles,gettingbanished,butafterPe- ter I played Electra. It felt right to act it. It wasn’t like I was acting out my grief but I certainly felt it expunged. Up to that point The odd couple — acting had been a facility,after it,it became a reality. With a part like that you’re com- municating the private sorrows of an audi- ence. I am very interested in playing a psy- chologist next, to be the recipient of some- and the other guy oneelse’sstoriesratherthantheteller.” What about Lady Macbeth: she hasn’t Rachel Campbell- doneheryet?“Ijustmight,”shesaysquizzi- cally. “Alan Rickman asked me recently, Johnston goes to a ‘Whatever happened to us doing the Mac- beths?’” What? Those two as Mr and Mrs party thrown by M?Bestillourbeating. As for the insane Harry Potter slip- three artists with stream, she is almost dismissive. “Harry Melling, the young man who plays my son little in common he’ll be going up ladders again. My mum Fiona Shaw, left, near to in Mother Courage, plays my son in Potter visits him every day” — she smiles — home base on Primrose (they are Petunia and Dudley Dursley re- “apart from her days off in France.” She Hill; as Harry Potter’s spectively), and we’re the poor relations. Visual Art notes my stricken expression. “As a family Aunt Petunia (with We never do any magic, we have it done to wehaveratheraperfunctoryattitudetoill- Harry Melling and us. The odd thing is leaving the set and to Sargent, Sickert, ness. -
2015 United Solo Festival Guide
GREETINGS FROM UNITED SOLO Dear Friends, Welcome to the world of theatre; where a diverse body of artists brings innovative interpretations of the shared currency of human life! Entering its sixth year, United Solo has come to represent a unique landmark on the New York City theatrical map by offering a selection of one hundred fifty productions from six continents, staged over the course of ten weeks. We unite renowned artists and emerging talents, curate collections of scripts at Indie Theater Now, present an international showcase overseas, fundraise for the Actors Fund, and feature companies returning by popular demand in our special Encore category. United Solo thrives as the world’s largest solo theatre festival thanks to the commitment of a global family of patrons, artists, business associates, and supporters. I am deeply grateful to them for making it possible again this year! This Festival guide is an open invitation to a world of exciting stories. Enjoy this world through United Solo. Stay united! Omar Sangare, Ph.D. Artistic Director UNITED SOLO unitedsolo.org THE WORLD’S LARGEST SOLO THEATRE FESTIVAL (3) 2015 FACTS & FIGURES UNITED SOLO TEAM the world’s largest solo theatre festival OMAR SANGARE MICHAEL MILLER Artistic Director Literary Advisor 150 productions from 6 continents [email protected] [email protected] September 17 – November 22, 2015 ILYA KHODOSH MARCIN LIPINSKI PERFORMANCES AT TICKETS THROUGH Associate Artistic Director General Manager [email protected] [email protected] JULIA KWINTO TERRY TAMM 410 WEST 42nd STREET www.telecharge.com Creative Director Dramaturg [email protected] NEW YORK CITY 212-239-6200 [email protected] SPECIAL THANKS TO ANDREA DUQUETTE DIANE R. -
Puccini's Version of the Duet and Final Scene of "Turandot" Author(S): Janet Maguire Source: the Musical Quarterly, Vol
Puccini's Version of the Duet and Final Scene of "Turandot" Author(s): Janet Maguire Source: The Musical Quarterly, Vol. 74, No. 3 (1990), pp. 319-359 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/741936 Accessed: 23-06-2017 16:45 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly This content downloaded from 198.199.32.254 on Fri, 23 Jun 2017 16:45:10 UTC All use subject to http://about.jstor.org/terms Puccini's Version of the Duet and Final Scene of Turandot JANET MAGUIRE ALTHOUGH it has been said that Puccini did not finish Turandot because he could not, I have always been convinced that he had the music for the duet and final scene clearly in mind and that he would have had his Turandot Finale ready for the publisher by the end of the year, 1924, had he survived his throat operation. The key to the completion of the opera lies in a relatively few pages of musical ideas sketched out in brief, schematic form. -
ROSALIND-Film-Links
THE PLAY “AS YOU LIKE IT” THE WOMAN ROSALIND SOME LINKS FOR YOUR VIEWING PLEASURE YOUTUBE…. FILM PRODUCTION TWENTIETH CENTURY FOX (1936) Directed by Paul Czinner Laurence Olivier, Elisabeth Bergner, Sophie Stewart With English Captions: https://www.youtube.com/watch?v=wFChichBoPI&t=16s Without English Captions: https://www.youtube.com/watch?v=RxBwHQSbUdY&list=RDCMUCWNH6WeWgwMaWbO_ 5VfhiTQ&start_radio=1&t=24 BBC – THE OPEN UNIVERSITY “AS YOU LIKE IT” DOCUMENTARY (2016) Award-winning British Actress Fiona Shaw Lectures, Scene Study with Exercises https://www.youtube.com/watch?v=1bTlH-EQSJE&t=2202s FULL AMATEUR PRODUCTIONS THE PUBLIC THEATER OF MINNESOTA SHAKESPEARE FESTIVAL (2013) Filmed Outdoor Stage Production https://www.youtube.com/watch?v=dDVnVpgzG5U&t=6848s SHAKESPEARE BY-THE-SEA (2015) Filmed Live Outdoor Stage Production https://www.youtube.com/watch?v=ZTSaCh02s8U&list=PLH0M7jdxVB3vfSQjS6gAMm6M3h Ox6cXP-&index=25 AUDIO RECORDING LIBRIVOX AUDIOBOOKS (2019) https://www.youtube.com/watch?v=hhcLW0FaCBk OREGON SHAKESPEARE FESTIVAL (1950) https://www.youtube.com/watch?v=8yOhKvUtF3c&t=5539s KANOPY- FREE Through many Maine Public Libraries with Library card FILM PRODUCTION THE BBC SERIES – COMPLETE PLAYS OF SHAKESPEARE (1978) Directed by Basil Coleman Helen Mirren, Brian Stirner, Richard Pasco AMAZON PRIME VIDEO…… FILM PRODUCTIONS ROYAL SHAKESPEARE COMPANY (2019) Directed by Kimberly Sykes & Robert Lough Lucy Phelps , Antony Byrne , Sophie Khan Levy ROYAL SHAKESPEARE COMPANY (2010) Directed by Michael Boyd Jonjo O'Neill , Katy Stephens -
Playing Shakespeare with Deutsche Bank Production of Twelfth Night
2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh. -
Sophocles' Antigone Reworked in the Twentieth
NEW VOICES IN CLASSICAL RECEPTION STUDIES Issue 12 (2018) SOPHOCLES’ ANTIGONE REWORKED IN THE TWENTIETH CENTURY: THE CASE OF HASENCLEVER’S ANTIGONE (1917) © Rossana Zetti (University of Edinburgh) INTRODUCTION AND CONTEXTUALIZATION This article examines a little-known example of Antigone’s reception in the twentieth century: the adaptation by the German expressionist writer Walter Hasenclever. This version is the first and arguably most innovative of several European adaptations of Sophocles’ play to appear in the first half of the twentieth century. Although successful at the time of its production, Hasenclever’s Antigone is scarcely read in contemporary scholarship and is discussed mainly in German-language scholarship.1 Whereas Flashar’s wide-ranging study, in German, refers to Hasenclever’s drama (Flashar 2009: 127– 29), in Fischer-Lichte’s 2017 book Tragedy’s Endurance, in English, Hasenclever appears only in one endnote (Fischer-Lichte 2017: 143). The only English translation of the play available (Ritchie and Stowell 1969: 113–60) is rather out of date and inaccessible. Hasenclever’s Antigone is briefly mentioned in Steiner’s essential reference book Antigones (Steiner 1984: 142; 146; 170; 218), in the chapter on Antigone in the recent Brill’s Companion to the Reception of Sophocles (Silva 2017: 406–7) and in Cairns’ 2016 book on Sophocles’ Antigone (Cairns 2016: 133). However, it is absent in some of the most recent contributions dedicated to the play’s modern reception, including Wilmer’s and Žukauskaitė’s edited collection on Antigone in postmodern thought (2010), Mee’s and Foley’s essays (2011) discussing adaptations of Antigone staged around the world, and Morais’, Hardwick’s and Silva’s recent volume (2017).2 The absence of Hasenclever from contemporary scholarship can be explained by the fact that his Antigone lacks the complexity of later adaptations, such as Anouilh’s and Brecht’s. -
June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace
No. 495 - June 2016 President: Vice President: Simon Russell Beale CBE Nickolas Grace Nothing like a Dame (make that two!) The VW’s Shakespeare party this year marked Shakespeare’s 452nd birthday as well as the 400th anniversary of his death. The party was a great success and while London, Stratford and many major cultural institutions went, in my view, a bit over-bard (sorry!), the VW’s party was graced by the presence of two Dames - Joan Plowright and Eileen Atkins, two star Shakespeare performers very much associated with the Old Vic. The party was held in the Old Vic rehearsal room where so many greats – from Ninette de Valois to Laurence Olivier – would have rehearsed. Our wonderful Vice-President, Nickolas Grace, introduced our star guests by talking about their associations with the Old Vic; he pointed out that we had two of the best St Joans ever in the room where they would have rehearsed: Eileen Atkins played St Joan for the Prospect Company at the Old Vic in 1977-8; Joan Plowright played the role for the National Theatre at the Old Vic in 1963. Nickolas also read out a letter from Ronald Pickup who had been invited to the party but was away in France. Ronald Pickup said that he often thought about how lucky he was to have six years at the National Theatre, then at Old Vic, at the beginning of his career (1966-72) and it had a huge impact on him. Dame Joan Plowright Dame Joan Plowright then regaled us with some of her memories of the Old Vic, starting with the story of how when she joined the Old Vic school in 1949 part of her ‘training’ was moving chairs in and out of the very room we were in. -
“Turandot” by Giacomo Puccini Libretto (English-Italian) Roles Personaggi
Giacomo Puccini - Turandot (English–Italian) 8/16/12 10:44 AM “Turandot” by Giacomo Puccini libretto (English-Italian) Roles Personaggi Princess Turandot - soprano Turandot, principessa (soprano) The Emperor Altoum, her father - tenor Altoum, suo padre, imperatore della Cina (tenore) Timur, the deposed King of Tartary - bass Timur, re tartaro spodestato (basso) The Unknown Prince (Calàf), his son - tenor Calaf, il Principe Ignoto, suo figlio (tenore) Liù, a slave girl - soprano Liú, giovane schiava, guida di Timur (soprano) Ping, Lord Chancellor - baritone Ping, Gran Cancelliere (baritono) Pang, Majordomo - tenor Pang, Gran Provveditore (tenore) Pong, Head chef of the Imperial Kitchen - tenor Pong, Gran Cuciniere (tenore) A Mandarin - baritone Un Mandarino (baritono) The Prince of Persia - tenor Il Principe di Persia (tenore) The Executioner (Pu-Tin-Pao) - silent Il Boia (Pu-Tin-Pao) (comparsa) Imperial guards, the executioner's men, boys, priests, Guardie imperiali - Servi del boia - Ragazzi - mandarins, dignitaries, eight wise men,Turandot's Sacerdoti - Mandarini - Dignitari - Gli otto sapienti - handmaids, soldiers, standard-bearers, musicians, Ancelle di Turandot - Soldati - Portabandiera - Ombre ghosts of suitors, crowd dei morti - Folla ACT ONE ATTO PRIMO The walls of the great Violet City: Le mura della grande Città Violetta (The Imperial City. Massive ramparts form a semi- (La Città Imperiale. Gli spalti massicci chiudono circle quasi that enclose most of the scene. They are interrupted tutta la scena in semicerchio. Soltanto a destra il giro only at the right by a great loggia, covered with è carvings and reliefs of monsters, unicorns, and rotto da un grande loggiato tutto scolpito e intagliato phoenixes, its columns resting on the backs of a mostri, a liocorni, a fenici, coi pilastri sorretti dal gigantic dorso di massicce tartarughe. -
Louise Michel
also published in the rebel lives series: Helen Keller, edited by John Davis Haydee Santamaria, edited by Betsy Maclean Albert Einstein, edited by Jim Green Sacco & Vanzetti, edited by John Davis forthcoming in the rebel lives series: Ho Chi Minh, edited by Alexandra Keeble Chris Hani, edited by Thenjiwe Mtintso rebe I lives, a fresh new series of inexpensive, accessible and provoca tive books unearthing the rebel histories of some familiar figures and introducing some lesser-known rebels rebel lives, selections of writings by and about remarkable women and men whose radicalism has been concealed or forgotten. Edited and introduced by activists and researchers around the world, the series presents stirring accounts of race, class and gender rebellion rebel lives does not seek to canonize its subjects as perfect political models, visionaries or martyrs, but to make available the ideas and stories of imperfect revolutionary human beings to a new generation of readers and aspiring rebels louise michel edited by Nic Maclellan l\1Ocean Press reb� Melbourne. New York www.oceanbooks.com.au Cover design by Sean Walsh and Meaghan Barbuto Copyright © 2004 Ocean Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photo copying, recording or otherwise, without the prior permission of the publisher. ISBN 1-876175-76-1 Library of Congress Control No: 2004100834 First Printed in 2004 Published by Ocean Press Australia: GPO Box 3279, -
MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY.......................................................................................................... -
Talking Theatre Extract
Richard Eyre TALKING THEATRE Interviews with Theatre People Contents Introduction xiii Interviews John Gielgud 1 Peter Brook 16 Margaret ‘Percy’ Harris 29 Peter Hall 35 Ian McKellen 52 Judi Dench 57 Trevor Nunn 62 Vanessa Redgrave 67 NICK HERN BOOKS Fiona Shaw 71 London Liam Neeson 80 www.nickhernbooks.co.uk Stephen Rea 87 ix RICHARD EYRE CONTENTS Stephen Sondheim 94 Steven Berkoff 286 Arthur Laurents 102 Willem Dafoe 291 Arthur Miller 114 Deborah Warner 297 August Wilson 128 Simon McBurney 302 Jason Robards 134 Robert Lepage 306 Kim Hunter 139 Appendix Tony Kushner 144 John Johnston 313 Luise Rainer 154 Alan Bennett 161 Index 321 Harold Pinter 168 Tom Stoppard 178 David Hare 183 Jocelyn Herbert 192 William Gaskill 200 Arnold Wesker 211 Peter Gill 218 Christopher Hampton 225 Peter Shaffer 232 Frith Banbury 239 Alan Ayckbourn 248 John Bury 253 Victor Spinetti 259 John McGrath 266 Cameron Mackintosh 276 Patrick Marber 280 x xi JOHN GIELGUD Would you say the real father—or mother—of the National Theatre and the Royal Shakespeare Company is Lilian Baylis? Well, I think she didn’t know her arse from her elbow. She was an extraordinary old woman, really. And I never knew anybody who knew her really well. The books are quite good about her, but except for her eccentricities there’s nothing about her professional appreciation of Shakespeare. She had this faith which led her to the people she needed. Did she choose the actors? I don’t think so. She chose the directors. John Gielgud Yes, she had a very difficult time with them. -
Communications from the International Brecht Society. Vol. XIII, No. 2 April 1984
Communications from the International Brecht Society. Vol. XIII, No. 2 April 1984 San Antonio, Texas: International Brecht Society, Inc., April 1984 https://digital.library.wisc.edu/1711.dl/M3HLL3GNJRCAF8S http://rightsstatements.org/vocab/InC/1.0/ Copyright International Brecht Society. Used with Permission. The libraries provide public access to a wide range of material, including online exhibits, digitized collections, archival finding aids, our catalog, online articles, and a growing range of materials in many media. When possible, we provide rights information in catalog records, finding aids, and other metadata that accompanies collections or items. However, it is always the user's obligation to evaluate copyright and rights issues in light of their own use. 728 State Street | Madison, Wisconsin 53706 | library.wisc.edu - ORR IPE RII DENIC RIR SOCIO SSC Seca ON een er ORE Oo SAN RR NAR RCO SNR IN AN ga ad tease eRe NN = Te TR OMRON ANNs sR ae RR il 7~—_ Se MRS EE Sey Beene ME ee Ss Ber ae ee cee BSP ae NCR ee S nee Sea Renee . “OSI RRR nS NR BR CRE ER RCs. NEO SORES SS AOL ORCS Dt as ~ Perea pS VS ORR 5 cams Ee GENO. a Bee RRM Re Ree. TRNAS OO LE NERS mE REE SOS Pon an ME , BK tin, OSORRRR ED SS. : “UN SES ae San Gorter e " ie * OS Se a Re ae ee BBR Ss SO RR RES ROS nearer Besa cen: 8 >. BU ee : RRM Cm Ree MRR eg ESS BOR eget ne. oy BEES AFR ean Nan ee ee athe Ae oe i, a a _ ees AR, o 3 Eee era Ni OSE €i : RRS raster oe ne eA ge OR NDS SED TO a See ees BR SOR Sa Rea ss Se ee lee.