Appendix 1: Simon Stephens – Interview
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Teacher Resource Pack I, Malvolio
TEACHER RESOURCE PACK I, MALVOLIO WRITTEN & PERFORMED BY TIM CROUCH RESOURCES WRITTEN BY TIM CROUCH unicorntheatre.com timcrouchtheatre.co.uk I, MALVOLIO TEACHER RESOURCES INTRODUCTION Introduction by Tim Crouch I played the part of Malvolio in a production of Twelfth Night many years ago. Even though the audience laughed, for me, it didn’t feel like a comedy. He is a desperately unhappy man – a fortune spent on therapy would only scratch the surface of his troubles. He can’t smile, he can’t express his feelings; he is angry and repressed and deluded and intolerant, driven by hate and a warped sense of self-importance. His psychiatric problems seem curiously modern. Freud would have had a field day with him. So this troubled man is placed in a comedy of love and mistaken identity. Of course, his role in Twelfth Night would have meant something very different to an Elizabethan audience, but this is now – and his meaning has become complicated by our modern understanding of mental illness and madness. On stage in Twelfth Night, I found the audience’s laughter difficult to take. Malvolio suffers the thing we most dread – to be ridiculed when he is at his most vulnerable. He has no resolution, no happy ending, no sense of justice. His last words are about revenge and then he is gone. This, then, felt like the perfect place to start with his story. My play begins where Shakespeare’s play ends. We see Malvolio how he is at the end of Twelfth Night and, in the course of I, Malvolio, he repairs himself to the state we might have seen him in at the beginning. -
Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
2012 Morpheus Staff
2012 Morpheus Staff Editor-in-Chief Laura Van Valkenburgh Contest Director Lexie Pinkelman Layout & Design Director Brittany Cook Marketing Director Brittany Cook Cover Design Lemming Productions Merry the Wonder Cat appears courtesy of Sandy’s House-o-Cats. No animals were injured in the creation of this publication. Heidelberg University Morpheus Literary Magazine 2012 2 Heidelberg University Morpheus Literary Magazine 2012 3 Table of Contents Morpheus Literary Competition Author Biographies...................5 3rd Place Winners.....................10 2nd Place Winners....................26 1st place Winners.....................43 Senior Writing Projects Author Biographies...................68 Brittany Cook...........................70 Lexie Pinkelman.......................109 Laura Van Valkenburgh...........140 Heidelberg University Morpheus Literary Magazine 2012 4 Author Biographies Logan Burd Logan Burd is a junior English major from Tiffin, Ohio just trying to take advantage of any writing opportunity Heidelberg will allow. For “Onan on Hearing of his Broth- er’s Smiting,” Logan would like to thank Dr. Bill Reyer for helping in the revision process and Onan for making such a fas- cinating biblical tale. Erin Crenshaw Erin Crenshaw is a senior at Heidelberg. She is an English literature major. She writes. She dances. She prances. She leaps. She weeps. She sighs. She someday dies. Enjoy the Morpheus! Heidelberg University Morpheus Literary Magazine 2012 5 April Davidson April Davidson is a senior German major and English Writing minor from Cincin- nati, Ohio. She is the president of both the German Club and Brown/France Hall Council. She is also a member of Berg Events Council. After April graduates, she will be entering into a Masters program for German Studies. -
'Pamy}L 'Wurlitzer
'Pamy}l 'Wurlitzer 1883 • 1912 Orbil ill '"e eclronic1ynt-he1izer P,UJ ~ -~ohJre01pinel orqon equo1... ~e nevve;Iwoy lo mo <.emu1ic fromWur irzec Now with the Orbit III electronic synthesizer from slowly, just as the theatre organist did by opening and Wurlitzer you can create new synthesized sounds in closing the chamber louvers. stantly ... in performance. And with the built-in Orbit III synthesizer, this This new Wurlitzer instrument is also a theatre organ, instrument can play exciting combinations of synthe with a sectionalized vibrato/tremolo, toy counter, in sized, new sounds, along with traditional organ music. A dependent tibias on each keyboard and the penetrating built-in cassette player/recorder lets you play along with kinura voice that all combine to recreate the sounds of pre-recorded tapes for even more dimensions in sound. the twenty-ton Mighty Wurlitzers of silent screen days. But you've got to play the Orbit III to believe it. And it's a cathedral/classical organ, too, with its own in Stop in at your Wurlitzer dealer and see the Wurlitzer dividually voiced diapason, reed, string and flute voices. 4037 and 4373. Play the eerie, switched-on sounds New linear accent controls permit you to increase or of synthesized music. Ask for your free Orbit III decrease the volume of selected sections suddenly, or demonstration record. Or write: Dept. TO - 672 WURLiizER ® The Wurlitzer Company, DeKalb, Illinois 60115 . hn.4'the \T8fl cover- photo .. Farny R. Wurlitzer, Chairman Emeritus of the Board of Directors of the Wurlitzer Company, who died May 6, 1972. -
LR003208 - Alfred Bradley (Interview 14) - No Date.Wav Duration: 0:39:10 Date: 31/07/2017 Typist: 715
File: LR003208 - Alfred Bradley (interview 14) - no date.wav Duration: 0:39:10 Date: 31/07/2017 Typist: 715 START AUDIO Interviewer: A history of north regional broadcasting, interview number 14, Alfred Bradley. Radio's very first play was broadcast from Station 2LO London on the 15th November 1922. The day after Broadcasting England first began and it was heard in the children's programme but the north region can probably boast the first adult play written for wireless. L. du Garde Peach was the author. It came from the British Broadcasting Company's Metrovix studio and was broadcast by Station 2ZY. By the start of the 1930s far more Northerners were hearing plays than seeing them in the theatre. They were produced by the likes of Jan Bussell, Cecil McGiven and by Edward Wilkinson. The radio dramatic feature became the invention and hallmark of Geoffrey Brideson and Frances Dillon, Olive Shapley and Joan Littlewood all working from North region. By the 1940s James R Gregson had started a school for Radio Playwrights at the Leeds Studios. No history of North Regional Broadcasting would be anywhere near compete without BBC Regional Drama's most distinguished name, that of Alfred Bradley who's with me now. 0:01:19 Alfred you joined in 1959? Alfred Bradley: Yes, I came from a strange job. I was drama advisor in Leicestershire. I suppose I started off wanting to be an actor and I grew out of that very quickly. Found I was better at directing than acting. I couldn't be bothered to remember the lines. -
Sep 16 – Feb 17 020 7452 3000 Nationaltheatre.Org.Uk Find Us Online How to Book the Plays
This cover was created with the Lighting Department. Lighting is used to create moments of stage magic. The choices a Lighting Designer makes about how a set and actors are lit have a major impact on the mood and atmosphere of a scene. The National’s Lighting department deploys everything from flood or spotlight to complex automated lights, controlled via a lighting data network. Sep 16 – Feb 17 020 7452 3000 nationaltheatre.org.uk Find us online How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm See p29 for Sunday and holiday opening times Hedda Gabler LOVE Amadeus Playing from 5 December 6 December – 10 January Playing from 19 October Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm for the following week’s performances Day Tickets £15 / £18 tickets available in person on the day of the performance No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Peter Pan The Red Barn A Pacifist’s Guide to Playing from 16 November 6 October – 17 January the War on Cancer 14 October – 29 November Access symbols used in this brochure Captioned Touch Tour British Sign Language Relaxed Performance Audio-Described TRAVELEX £15 TICKETS The National Theatre NT Future is Partner for Sponsored by in partnership -
2012 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS in SPOTLIGHT, PARK CITY at MIDNIGHT, NEXT <=> and NEW FRONTIER
FOR IMMEDIATE RELEASE Media Contacts: December 1, 2011 Sarah Eaton 310.360.1981 [email protected] Casey De La Rosa 310.360.1981 [email protected] 2012 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS IN SPOTLIGHT, PARK CITY AT MIDNIGHT, NEXT <=> AND NEW FRONTIER Park City, UT — Sundance Institute announced today the films selected to screen in the 2012 Sundance Film Festival out-of-competition sections Spotlight, Park City at Midnight, NEXT <=> and New Frontier. The Festival takes place from January 19 through 29 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival. Trevor Groth, Director of Programming for the Sundance Film Festival, said, “In many ways, the extremes of the Festival’s program are most readily apparent in our out-of-competition sections, which showcase the wildest comedies, the most terrifying horror films and uncompromised visions from singular voices springing up from around the country and the world. We hope audiences experiment with their film selections to an equal degree as these filmmakers have experimented with their storytelling.” SPOTLIGHT Regardless of where these films have played throughout the world, the Spotlight program is a tribute to the cinema we love. Corpo Celeste / Italy (Director and screenwriter: Alice Rohrwacher) — After moving back to southern Italy with her mother and older sister, 13-year-old Marta struggles to find her place, restlessly testing the boundaries of an unfamiliar city and the catechism of the Catholic church. Cast: Yle Vianello, Salvatore Cantalupo, Anita Caprioli, Renato Carpentiere. Declaration Of War / France (Director: Valérie Donzelli, Screenwriters: Jérémie Elkaïm, Valérie Donzelli) — A young couple embark upon a painful, enlightening journey when they discover that their newborn child is very ill. -
ENGLISH ENGLISH ENGLISH ENGLISH Toneelgroep Amsterdam Content / About Us
ENGLISH ENGLISH ENGLISH ENGLISH toneelgroep amsterdam content / about us 3 ABOUT US 4 MEDEA 6 SONG FROM FAR AWAY 8 THE GLASS MENAGERIE / GLAZEN SPEELGOED 10 HUSBANDS AND WIVES ABOUT 12 THE FOUNTAINHEAD 14 THE THINGS THAT PASS / DE DINGEN DIE VOORBIJGAAN 16 THE MAIDS / DE MEIDEN 18 IBSEN HOUSE / IBSEN HUIS 20 KINGS OF WAR 22 THE OTHER VOICE / DE ANDERE STEM US 24 OBSESSION 26 TICKET SALES Toneelgroep Amsterdam (TA) is the largest repertory theatre company of the 27 TA THANKS Netherlands and is led by Ivo van Hove. Each season we present new plays of 28 SURTITLED PERFORMANCES IN AMSTERDAM internationally acclaimed directors – such as Ivo van Hove, Katie Mitchell, Luk Perceval, Guy Cassiers, Sam Gold and Simon Stone – and also provide opportunities for new directing talent. In addition, we reprise several of our most successful pieces from previous seasons. Our large ensemble is a permanent pool of acting talent which enables us to develop distinctive and daring productions. It also enables us to continue reviving our successful productions at regular intervals. This is only possible because of the permanent ensemble of 21 actors and actresses, as well as longstanding contacts with some 25 renowned guest actors every season. In the space of just a few years, we’ve achieved an enviable worldwide reputation. Renowned festivals and playhouses are looking out for our work, from Taipei to Buenos Aires, from Avignon to Sydney. Our contemporary readings of the classics are regarded as eye-openers. Amsterdam is and will remain our home base. It is where we develop and present all our productions, together with an extensive fringe programme. -
White Paper Introduction
89 seconds Atomized White Paper Introduction........................................................................................... 3 Concept.................................................................................................. 4 Background........................................................................................... 5 About Eve Sussman ..........................................................................5 About Snark.Art .................................................................................6 About Las Meninas ...........................................................................6 About 89 seconds at Alcázar ............................................................7 89 seconds, Atomized.......................................................................... 8 The Work ...........................................................................................8 The Community ................................................................................9 Purchase and Ownership ................................................................11 Initial Sales Drops ......................................................................11 Purchase Methods ....................................................................11 Loan Mechanics ..............................................................................12 Requesting a Loan ....................................................................12 Loaning Out Your Atom(s) .........................................................12 -
Célia Maria Silva Oliveira 995 – 20
Universidade do Minho Instituto de Letras e Ciências Humanas 0) 1 Célia Maria Silva Oliveira 995 – 20 From the Margins into the Mainstream: y Williams and Black British Theatre (1 Roy Williams and Black British Theatre (1995 – 2010) tream: Ro he Mains he Margins into t rom t F Célia Maria Silva Oliveira 2 1 UMinho|20 outubro de 2012 Universidade do Minho Instituto de Letras e Ciências Humanas Célia Maria Silva Oliveira From the Margins into the Mainstream: Roy Williams and Black British Theatre (1995 – 2010) Dissertação de Mestrado Mestrado em Estudos Ingleses Trabalho realizado sob a orientação da Professora Doutora Francesca Clare Rayner outubro de 2012 Acknowledgments I would like to thank Professor Francesca Rayner for introducing me to the world of New Writing in Britain and leading me in a quest of discovery. Thank you for the support and for believing in me and in the work that I could do. Thank you for the always open office door and the kind words. Filipe Couto, thank you for seeing qualities in me that I was not aware they existed. Thank you for the image that I have in your eyes. Sérgio Oliveira, more than my brother, my best friend, thank you for the support and the technical help. Sometimes, writing a thesis might have moments of desperation and Daniela and Neuza were always at the distance of a phone call. Thank you for the readings and for listening to my monologues. I would also want to thank all the people that direct and indirectly helped me and were part of this journey. -
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization. -
Encountering Shakespeare with Tim Crouch
“This is you”: Encountering Shakespeare with Tim Crouch by Sara Soncini By general consensus, Tim Crouch is one of the most innovative theatre-makers to have emerged on the UK scene during the last decade or so. His work has attracted considerable critical attention both nationally and internationally, giving rise to a sizeable and ever expanding body of academic analysis. Starting with his multi-award- winning production of An Oak Tree (2005), Crouch’s plays have toured extensively and they are regularly performed in translation in a wide range of European countries, where they have been invariably hailed as a token of the vigour and vibrancy of British new writing. The fact that roughly one half of Tim Crouch’s dramatic output to date is a reworking of Shakespearean sources is a telling indication of the continued centrality of his theatrical voice on the 21st-century stage. Yet while critics usually remark upon the continuities – in terms of objectives, methods and techniques – between Crouch’s Shakespeare project and the rest of his production (see e.g. Rebellato 2016), the specific cultural meaning of his adaptations as a form of creative engagement with Shakespeare has only been cursorily addressed in the available scholarship. This is arguably a consequence of the particular slant of the project and its perceived specialized nature. Now a cycle of five solo plays, Tim Crouch’s I, Shakespeare was initially instigated by a commission from the Brighton Festival to introduce Shakespeare to a young audience. The brief resulted in I, Caliban (2003), a retelling of Saggi/Ensayos/Essais/Essays Will forever young! Shakespeare & Contemporary Culture – 11/2017 22 The Tempest from the point of view of Shakespeare’s outcast for children aged 8+.