Year Title Author Genre 1997 Glowboys Lance Dann 1997
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Rachmaninoff Symphony No
RACHMANINOFF SYMPHONY NO. 3 10 SONGS (ARR. JUROWSKI) VLADIMIR JUROWSKI conductor VSEVOLOD GRIVNOV tenor LONDON PHILHARMONIC ORCHESTRA SERGE RACHMANINOFF SYMPHONY NO. 3 Sir Henry Wood, writing in his autobiography My Life and conductor. If the public in Russia, Europe and America of Music (1938), predicted that Rachmaninoff’s Third recognised his gifts in all three branches of the profession, Symphony would ‘prove as popular as Tchaikovsky’s Fifth’. he himself always regarded himself as a composer first If that has never really been the case, Wood’s further and foremost. If he also happened to be one of the finest assessment of the score does ring true: pianists the world has ever known, that was, to a certain extent, a bonus. In 1917, however, there came a seismic ‘The work impresses me as being of the true Russian change in his life. With the onset and aftermath of the Romantic school. One cannot get away from the October Revolution, Rachmaninoff and his family felt beauty and melodic line of the themes and their logical compelled to emigrate. ‘Everything around me makes it development. As did Tchaikovsky, Rachmaninoff uses the impossible for me to work’, he wrote to his cousin and fellow instruments of the orchestra to their fullest effect. Those pianist Alexander Ziloti, ‘and I am frightened of becoming lovely little phrases for solo violin, echoed on the four solo completely apathetic. Everybody around me advises me to woodwind instruments, have leave Russia for a while. But where to, and how? And is it a magical effect in the slow movement. -
3. Terence Rattigan- First Success and After
DIPLOMARBEIT Titel der Diplomarbeit „In and out of the limelight- Terence Rattigan revisited“ Verfasserin Covi Corinna angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 30. Jänner 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: 343 Diplomstudium Anglistik und Amerikanistik UniStG Betreuer: Ao. Univ.-Prof. Dr. Rudolf Weiss Table of contents 1. Introduction……………………………………………………....p.4 2. The History of the Well-Made Play…………………………......p.5 A) French Precursors.....................................................................p.6 B) The British Well-Made Play...................................................p.10 a) Tom Robertson and the 1870s...........................................................p.10 b) The “Renaissance of British Drama”...............................................p.11 i. Arthur Wing Pinero (1855-1934) and Henry Arthur Jones (1851- 1929)- The precursors of the “New Drama”..............................p.12 ii. Oscar Wilde (1854-1900)..............................................................p.15 c) 1900- 1930 “The Triumph of the New Drama”...............................p.17 i. Harley Granville-Barker (1877-1946)………………................p.18 ii. William Somerset Maugham (1874-1965)..................................p.18 iii. Noel Coward (1899-1973)............................................................p.20 3. Terence Rattigan- first success and after...................................p.21 A) French Without Tears (1936)...................................................p.22 -
Eötvös Péter Love and Other Demons Című Operájának Dramaturgiája És Kifejezőeszközei
Liszt Ferenc Zeneművészeti Egyetem 7.6 számú Doktori iskola EÖTVÖS PÉTER LOVE AND OTHER DEMONS CÍMŰ OPERÁJÁNAK DRAMATURGIÁJA ÉS KIFEJEZŐESZKÖZEI MEGYERI KRISZTINA DOKTORI ÉRTEKEZÉS TÉMAVEZETŐ: GRABÓCZ MÁRTA 2013 Liszt Ferenc Zeneművészeti Egyetem 7.6 számú Doktori iskola EÖTVÖS PÉTER LOVE AND OTHER DEMONS CÍMŰ OPERÁJÁNAK DRAMATURGIÁJA ÉS KIFEJEZŐESZKÖZEI MEGYERI KRISZTINA DOKTORI ÉRTEKEZÉS TÉMAVEZETŐ: GRABÓCZ MÁRTA 2013 i Tartalomjegyzék I.Keletkezéstörténet, librettóátalakítások.....................................................................1 I.1. Előzmények I.1.1 Előzmények, kortárszenei kontextus.................................................1 I.1.2 Eötvös Péter pályájáról és a késői korszak nyelvezetéről................6 I.2. A keletkezés körülményei.............................................................................12 I.2.1. A felkérésről és az opera keletkezéséről.........................................12 I.2.2. Az előadásokról és a rendezésről....................................................14 I.2.3. A zenekarról....................................................................................18 I.3. Genezis..........................................................................................................20 I.3.1. Regény, librettó(k), opera...............................................................20 I.3.2. Összevonások.................................................................................23 I.3.3. A regényszöveg átalakítása.............................................................25 -
Marketing Fragment 6 X 10.5.T65
Cambridge University Press 978-0-521-86606-4 - The Cambridge Companion to August Wilson Edited by Christopher Bigsby Excerpt More information 1 CHRISTOPHER BIGSBY August Wilson: the ground on which he stood I am one of those warrior spirits. The battle since the first African set foot on the continent of North America has been a battle for the affirmation of the value and worth of one’s being in the face of this society that says you’re worthless. ...AsAfricans prior to coming over here, they existed, and they were the center. Everything revolved around them in their world view. Over here, all of that has been taken and stripped away. So I say, ‘Let’s look at it. The world is right here in this back yard.’ There is no idea that cannot be contained by black life. We have the entire world here...italldepends on where you’re standing...I’mstanding over here. August Wilson1 On 2 October 2005 August Wilson died at the Swedish Medical Centre in Seattle. It was just eight months after the death of another American playwright, Arthur Miller. They came out of different worlds. Miller was descended from immigrants on both sides of the family, Jews who went to America to escape persecution and seek their fortune. And if they sub- sequently lost the fortune they made, they nonetheless never lost belief in the system that had redeemed them from a far worse fate. To be sure, they encountered prejudice, but even so they slid with some ease into an Amer- ica which swiftly bore the impress of European Jews as they emerged as entrepreneurs, artists, scientists and intellectuals surprisingly ready to inter- pret America to itself. -
Post-9/11 Brown and the Politics of Intercultural Improvisation A
UNIVERSITY OF CALIFORNIA RIVERSIDE “Sound Come-Unity”: Post-9/11 Brown and the Politics of Intercultural Improvisation A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Dhirendra Mikhail Panikker September 2019 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Robin D.G. Kelley Dr. René T.A. Lysloff Dr. Liz Przybylski Copyright by Dhirendra Mikhail Panikker 2019 The Dissertation of Dhirendra Mikhail Panikker is approved: Committee Chairperson University of California, Riverside Acknowledgments Writing can feel like a solitary pursuit. It is a form of intellectual labor that demands individual willpower and sheer mental grit. But like improvisation, it is also a fundamentally social act. Writing this dissertation has been a collaborative process emerging through countless interactions across musical, academic, and familial circles. This work exceeds my role as individual author. It is the creative product of many voices. First and foremost, I want to thank my advisor, Professor Deborah Wong. I can’t possibly express how much she has done for me. Deborah has helped deepen my critical and ethnographic chops through thoughtful guidance and collaborative study. She models the kind of engaged and political work we all should be doing as scholars. But it all of the unseen moments of selfless labor that defines her commitment as a mentor: countless letters of recommendations, conference paper coachings, last minute grant reminders. Deborah’s voice can be found across every page. I am indebted to the musicians without whom my dissertation would not be possible. Priya Gopal, Vijay Iyer, Amir ElSaffar, and Hafez Modirzadeh gave so much of their time and energy to this project. -
Daniel Evans
www.hamiltonhodell.co.uk Daniel Evans Talent Representation Telephone Christian Hodell +44 (0) 20 7636 1221 [email protected], Address [email protected], Hamilton Hodell, [email protected] 20 Golden Square London, W1F 9JL, United Kingdom Theatre Title Role Director Theatre/Producer COMPANY Robert Jonathan Munby Sheffield Crucible Theatre THE PRIDE Oliver Richard Wilson Sheffield Crucible Theatre THE ART OF NEWS Dominic Muldowney London Sinfonietta SUNDAY IN THE PARK WITH GEORGE Tony Award Nomination for Best Performance by a Lead Actor in a Musical 2008 George Sam Buntrock Studio 54 Outer Critics' Circle Nomination for Best Actor in a Musical 2008 Drama League Awards Nomination for Distinguished Performance 2008 GOOD THING GOING Part of a Revue Julia McKenzie Cadogan Hall Ltd SWEENEY TODD Tobias Ragg David Freeman Southbank Centre TOTAL ECLIPSE Paul Verlaine Paul Miller Menier Chocolate Factory SUNDAY IN THE PARK WITH GEORGE Wyndham's Theatre/Menier George Sam Buntrock Olivier Award for Best Actor in a Musical 2007 Chocolate Factory GRAND HOTEL Otto Michael Grandage Donmar Warehouse CLOUD NINE Betty/Edward Anna Mackmin Crucible Theatre CYMBELINE Posthumous Dominic Cooke RSC MEASURE FOR MEASURE Angelo Sean Holmes RSC THE TEMPEST Ariel Michael Grandage Sheffield Crucible/Old Vic Nominated for the 2002 Ian Charleson Award (Joint with his part in Ghosts) GHOSTS Osvald Steve Unwin English Touring Theatre Nominated for the 2002 Ian Charleson Award (Joint with his part in The Tempest) WHERE DO WE LIVE Stephen Richard -
Sir Terence Rattigan, CBE 1911 – 1977
A Centenary Service of Celebration for the Life and Work of Sir Terence Rattigan, CBE 1911 – 1977 “God from afar looks graciously upon a gentle master.” St Paul’s Covent Garden Tuesday 22nd May 2012 11.00am Order of Service PRELUDE ‘O Soave Fanciulla’ from La Bohème by G. Puccini Organist: Simon Gutteridge THE WELCOME The Reverend Simon Grigg The Lord’s Prayer Our Father, who art in heaven, hallowed be thy name. Thy kingdom come, thy will be done, on earth as it is in heaven. Give us this day our daily bread; and forgive us our trespasses, as we forgive them that trespass against us. And lead us not into temptation, but deliver us from evil. For thine is the kingdom, the power and the glory, for ever and ever. Amen. TRIBUTE DAVID SUCHET, CBE written by Geoffrey Wansell 1 ARIA ‘O Mio Babbino Caro’ from Gianni Schicchi by G. Puccini CHARLOTTE PAGE HYMN And did those feet in ancient time Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen? And did the countenance divine Shine forth upon our clouded hills? And was Jerusalem builded here Among those dark satanic mills? Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight, Nor shall my sword sleep in my hand, Till we have built Jerusalem In England's green and pleasant land. ADDRESS ‘The Final Test’ SIR RONALD HARWOOD, CBE 2 HYMN I vow to thee, my country, all earthly things above, Entire and whole and perfect, the service of my love: The love that asks no question, the love that stands the test, That lays upon the altar the dearest and the best; The love that never falters, the love that pays the price, The love that makes undaunted the final sacrifice. -
United States Theatre Programs Collection O-016
http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 [email protected] URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items. -
The York Realist
Press Release Tuesday 24 October 2017 DONMAR WAREHOUSE AND SHEFFIELD THEATRES ANNOUNCE FULL CASTING FOR THE YORK REALIST A Donmar Warehouse and Sheffield Theatres co-production By Peter Gill Donmar Warehouse: Thursday 8 February – Saturday 24 March 2018 PRESS NIGHT: Tuesday 13 February 2018 Sheffield Theatres: Tuesday 27 March – Saturday 7 April Director Robert Hastie Designer Peter McKintosh Lighting Designer Paul Pyant Sound Designer Emma Laxton Composer Richard Taylor Full cast includes Jonathan Bailey, Ben Batt, Lucy Black, Brian Fletcher, Lesley Nicol, Katie West and Matthew Wilson. The Donmar Warehouse and Sheffield Theatres today announce full casting for Donmar Associate Director and Sheffield Theatres Artistic Director Robert Hastie’s new revival of Peter Gill’s modern masterpiece The York Realist. Jonathan Bailey joins the cast as John, opposite the previously announced Ben Batt who will play George. Full casting also includes Lucy Black, Brian Fletcher, Lesley Nicol, Katie West and Matthew Wilson. ‘I live here. I live here. You can’t see that, though. You can’t see it. This is where I live. Here.’ A cottage, 1960s Yorkshire. The York Mystery plays are in rehearsal. Farmhand George strains against his roots as a new world opens up to him. Peter Gill’s influential play about two young men in love is a touching reflection on the rival forces of family, class and longing. Donmar Associate Robert Hastie returns for this timely revival from one of our greatest living playwrights, following his previous productions My Night with Reg and Splendour. Making theatre accessible to as many people as possible remains at the heart of the Donmar’s mission. -
WGGB Working Playwright Agreements and Contracts V10.Pub
Agreements and Contracts A Working Playwright Guide www.writersguild.org.uk The Writers’ Guild of Great Britain is a trade union registered at 134 Tooley Street, London SE1 2TU Contact us You can contact us in the following ways: Email: [email protected] Telephone: 020 7833 0777 You can also contact our theatre representative by email: [email protected] 2 Writers’ Guild of Great Britain Contents Preface 4 Introduction 7 The National Theatre, RSC and Royal Court (the TNC) 8 UK Theatre (UKT) 20 Independent Theatre Council (ITC) 29 Appendix 1: Headline provisions 35 Appendix 2: UKT/Equity MRSL grades 37 Appendix 3: ITC Ethical Managers 38 Disclaimer 40 www.writersguild.org.uk 3 Preface In the old days, getting a play on wasn't easy, but it was simple. You'd send a play off to a theatre, and, if they read it, they might decide to put it on. The production would be cast, designed and marketed largely without your input. If the director felt like it, you might attend the read-through and a late run, to check on what changes had been made in your play. After it opened you'd get some money, in the form of a percentage of the box office. In the 1970s and 1980s, all that changed. In collaboration with the Writers' Guild (WGGB), a new Theatre Writers' Union negotiated binding, minimum terms agreements with – first – the National Theatre, the Royal Shakespeare Company and the Royal Court. Then agreements were negotiated with the rest of the building based sector, and finally with independent, non-building based companies. -
Deborah Findlay
DEBORAH FINDLAY Theatre: The Children Hazel James McDonald Royal Court Theatre& Samuel J. Friedman Theatere New York Escaped Alone Sally James Mcdonald Royal Court & BAM Rules For Living Edith Marianne Elliot Royal National Theatre Coriolanus Volumnia Josie Rourke Donmar Warehouse Timon of Athens Flavia Nick Hytner Royal National Theatre Moonlight Bel Bijan Sheiban Donmar Warehouse The Glass Menagerie Amanda Joe Hill- Gibbons Young Vic Like A Fishbone Architect Josie Rourke Bush Theatre Separate Tables Miss Cooper Philip Franks Chichester Festival Theatre Madame De Sade Baroness Simiane Michael Grandage Donmar Warehouse Vincent River Anita Steve Marmion 59e59 Theatre, New York John Gabriel Borkman Gunhilde Borkman Michael Grandage Donmar Warehouse The Cut * Susan Michael Grandage Donmar Warehouse Bernarda Alba ** Ponthia Howard Davies National Theatre The Mandate Nadejda Petrovna Declan Donelan National Theatre The Vortex Helen Saville Michael Grandage Donmar Warehouse Mother Claps Molly House Mother Clap Nicholas Hytner National Theatre The Winter's Tale Paulina Nicholas Hytner National Theatre The Threesome Hermance Gordon Anderson Lyric, Hammersmith The School For Scandal Lady Sneerwell Declan Donellan R S C Tongue Of A Bird Maxine Peter Gill Almeida Stanley *** Hilda John Caird National Theatre / Circle In The Sq The Seagull Madame Arcadina Robert Sturua Thelma Holt / Tour The Clandestine Marriage Miss Sterling Nigel Hawthorne Thelma Holt / West End The Beaux Stratagem Mrs Sullen Stephen Unwin Tour / Richmond The New Menosa Donna -
Simon Stephens: a Working Diary (Theatre Makers) Online
HI6qS (Online library) Simon Stephens: A Working Diary (Theatre Makers) Online [HI6qS.ebook] Simon Stephens: A Working Diary (Theatre Makers) Pdf Free Simon Stephens ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook #872531 in eBooks 2016-04-21 2016-04-21File Name: B019JPNL8O | File size: 78.Mb Simon Stephens : Simon Stephens: A Working Diary (Theatre Makers) before purchasing it in order to gage whether or not it would be worth my time, and all praised Simon Stephens: A Working Diary (Theatre Makers): 0 of 0 people found the following review helpful. Simon Stephens is a wonderful playwright and just as a good a journal writerBy Julia PerlowskiSimon Stephens is a wonderful playwright and just as a good a journal writer. I am a youth theatre teachers and director of Shakespeare. Simon's incites into the collaboration with actors is invaluable to me. 2014 was a spectacular year for playwright Simon Stephens, who has been described by the Independent as 'a brilliant writer of immense imagination' and by the Financial Times as having 'emerged in this millennium as an outstanding playwright'.2014 was a year for Simon Stephens which featured a high number of world premiere plays including one for the theatre of his birthplace, Manchester's Royal Exchange, a major new play for the Downstairs space at London's Royal Court, and a Chekhov translation for London's Young Vic; a transfer of his West End hit The Curious Incident of the Dog in the Night-Time to Broadway; and projects in Germany, a country which has seen Stephens lauded, in which he has worked extensively, and which has shaped much of his dramaturgy.