Season 10 Years and Counting
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American Players Theatre Production History
American Players Theatre Production History 1980 A Midsummer Night's Dream by William Shakespeare Directed by Anne Occhiogrosso & Ed Berkeley Titus Andronicus by William Shakespeare Directed by Ed Berkeley 1981 King John by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks The Comedy of Errors by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks The Two Gentleman of Verona by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks A Midsummer Night's Dream by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks Titus Andronicus by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks 1982 Romeo & Juliet by William Shakespeare Directed by Fred Ollerman & Mik Derks Titus Andronicus by William Shakespeare Directed by Mik Derks The Comedy of Errors by William Shakespeare Directed by Fred Ollerman & Mik Derks The Taming of the Shrew by William Shakespeare Directed by Fred Ollerman & Mik Derks The Two Gentleman of Verona by William Shakespeare Directed by Fred Ollerman A Midsummer Night's Dream by William Shakespeare Directed by Anne Occhiogrosso & Sandra Reigel-Ernst 1983 Romeo & Juliet by William Shakespeare Directed by Mik Derks Tamburlaine the Great by Christopher Marlowe Directed by Mik Derks Love's Labour's Lost by William Shakespeare Directed by Fred Ollerman The Taming of the Shrew by William Shakespeare Directed by Fred Ollerman A Midsummer Night's Dream by William Shakespeare Directed by Anne Occhiogrosso 1984 Romeo & Juliet by William Shakespeare Directed by Anne Occhiogrosso & Randall -
Performing Othello in South Africa Natasha Distiller
Authentic Protest, Authentic Shakespeare, Authentic Africans: Performing Othello in South Africa Natasha Distiller ugh Quarshie famously declared Othello a play that black actors Hshould avoid: “If a black actor plays Othello does he not risk making racial stereotypes seem legitimate… namely that black men… are over- emotional, excitable and unstable?”1 Ben Okri, referencing the reception of Shakespeare’s tragedy by critics and audiences,2 said that if Othello were not originally a play about race (as indeed it was not in the modern sense of the term), its history has made it one.3 By now, Othello both invokes and confounds modern notions of race and racial difference, speaking powerfully to the long history of misogyny it has facilitated.4 The play also points to the ways in which race and gender are imbricated in one another and co-depend.5 The meaning of Desdemona’s whiteness and femininity depend on each other, as do Othello’s blackness and masculinity. As Celia Daileader has pointed out, Desdemona’s punishment for being an unruly woman is symbolized by and through Othello’s racial identity.6 One might say that Othello both is and is not about race and racial difference, a play that invokes a relation between gender and the range of human cultures, religions, civic belongings, and/or appearances that we now encode as “race.” Whichever ideological frame one chooses to read through (an early modern construction of Moorishness, a postmodern antiracism, a feminist awareness of domestic violence, a combination of these, or any of the other possible lenses one could apply), to understand the play one must recognize the ways it explores the experience of difference as emotionally fraught at best, potentially dangerous at worst. -
Exploring Films About Ethical Leadership: Can Lessons Be Learned?
EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging. -
English 2080 S 19 Viewing Questions on the Twoothellos
English 2080 S 19 Viewing Questions on the twoOthellos As usual, the schedule is asking you to do several things at once — to view two productions of Othello while we read and explore the play in class — and a few notes and focusing questions may help us approach the modern performances. • Here are minimal credits for the two productions (more at http://us.imdb.com/): Othello (Royal Shakespeare Company, 1989, at Stratford’s Other Place); dir. Trevor Nunn, with Willard White (Othello), Imogen Stubbs (Desdemona), Ian McKellen (Iago), Sean Baker (Cassio), Zoe Wanamaker (Emilia), and Michael Grandage (Roderigo). ☛ Virginia Vaughan's "An Othello for the 1990s" (scholium 10 on our website) comments briefly on this production. Othello (Market Theatre, Johannesburg, 1987), dir. Janet Suzman, with John Kani (Othello), Joanna Weinberg (Desdemona), Richard Haddon Haines (Iago), Neal McCarthy (Cassio), Dorothy Gold (Emilia), and Frantz Dobrowsky (Roderigo). ☛ Suzman's "South Africa in Othello" (1998), on BB, serves an extended program note for this production; it is an essay in which she explains and defends decisions made in staging the play in an unusual venue. Like those decisions, it is not uncontroversial. • Mise-en-scène, the "putting in view" of the action. Both films work chiefly in stage rather than cinema mode: what conventions prevail here, and what narrative and dramatic opportunities offered by cinema are unavailable? (In fact, each is a bit of a hybrid: is there a single indicated audience perspective in either or both? Does either use -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Dissertation Final Corrected
FROM PENCIL TO PERFORMANCE: The creative nexus of arranging, orchestration and music direction in works of contemporary pop/rock musical theatre BRYAN SCHIMMEL 8300995 A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Music Final Corrected Submission 22 September 2014 ABSTRACT In the art form of musical theatre, available literature on the creative musical aspects of musicals has focused primarily on the composers and/or lyricists; their works having been extensively analysed and documented. There is, however, comparatively less literature and documentation on the processes that guide the transformation of the theatre composer’s work to an eventual performance embracing arranging, orchestration and music direction. This dissertation explores these practices from two perspectives – the creative and the recreative. First, from the creative perspective, I challenge Joseph P. Swain who makes a compelling case for composition as a tool of dramaturgy in his book The Broadway Musical: A Critical and Musical Survey (2002). I contest that his argument cannot hold true for pop/rock musicals in which the scores are comprised of pre-existing popular music that was not originally or intentionally composed for the stage. In order to understand how music functions as a dramatic element in musical theatre, it must follow that all collaborative creative forces that contribute to this music must be evaluated in a holistic manner. Dramaturgy contextualises and elucidates storytelling and artistic vision. While Swain has postulated that composition is an element of dramaturgy, I offer the notion that since arranging and orchestration contextualise and elucidate the composition they therefore cannot be excluded as dramaturgical devices. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
A Little Night Music
WELCOME It is a real pleasure to welcome you to the Quarry before last, and who share the role of Fredrika in Theatre for the first time in many months for our A Little Night Music. It’s a thrill to be able to perform co-production of Stephen Sondheim’s A Little Night Sondheim’s work in Jonathan Tunick’s original Music. This latest collaboration between Leeds orchestrations, with the brilliant Orchestra of Opera Playhouse and Opera North represents a significant North conducted by one of the world’s leading step for both organisations on the road back to a full interpreters of classic musical theatre, Jim Holmes. programme of performances for live audiences. Behind the scenes, our staff have been working The partnership between our two companies has incredibly hard to ensure a safe environment flourished since our work together five years ago for performers and audiences alike, and that on another Sondheim musical, Into the Woods, and will continue to be a top priority as we plan for has grown all the stronger during the pandemic. performances without restrictions in the coming Against the odds we made an all too brief return months. There is much to look forward to from to live performance together last October with both companies, with Pam Gems’ sensational play the Connecting Voices season, which included about the life of Edith Piaf at the Playhouse later Orpheus in the Record Shop, an extraordinary new this summer, and an autumn season that includes work by Leeds-based artist Testament, which was the magical Christmas show Wendy and Peter subsequently filmed for BBC4’s Lights Up festival. -
Some Thoughts Surrounding 2016Production of the Tempest
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Some thoughts surrounding 2016 production of The Tempest UMEMIYA Yu The following note shows the result of an on going research on the play by William Shakespeare: The Tempest. The 2016 production at the Royal Shakespeare Company (RSC), one of the leading theatre companies in England, demonstrated another innovative version of the play on their main stage in Stratford-upon-Avon, followed by its tour down to Barbican theatre in London in 2017. It did not include an extraordinary interpretation or unique casting pattern but demonstrated the extended development of technology available on stage. This note introduces the feature and the reception of the production in the latter half, with a brief summary of the play and a survey of the performance history of The Tempest in the first half. The story of The Tempest Compared to other plays by Shakespeare, The Tempest is a rare example that follows the classical idea of three unities of time, place and action, deriving from 1 Aristotle, then prescribed by Philip Sydney in Renaissance England . The similar 2 structure has already practiced in The Comedy of Errors in 1594 , but while this early comedy is often described as a simple farce, The Tempest contains various complications in terms of plots and theatrical possibilities. The story of The Tempest opens with a storm at sea, conjured by the magic of Prospero, the main character of the play. He is manipulating the tempest from the 一二七nearby island where he lives with his daughter, Miranda, and shares the land with two other fantastic creatures, Ariel and Caliban. -
Theatre Reviews
Multicultural Shakespeare: Translation, Appropriation and Performance Volume 8 Article 10 November 2011 Theatre Reviews Coen Heijes University of Groningen, the Netherlands Xenia Georgopoulou Department of Theatre Studies of the University of Athens, Greece Nektarios-Georgios Konstantinidis French Department of the University of Athens, Greece Follow this and additional works at: https://digijournals.uni.lodz.pl/multishake Part of the Theatre and Performance Studies Commons Recommended Citation Heijes, Coen; Georgopoulou, Xenia; and Konstantinidis, Nektarios-Georgios (2011) "Theatre Reviews," Multicultural Shakespeare: Translation, Appropriation and Performance: Vol. 8 , Article 10. DOI: 10.2478/v10224-011-0010-9 Available at: https://digijournals.uni.lodz.pl/multishake/vol8/iss23/10 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Multicultural Shakespeare: Translation, Appropriation and Performance by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Multicultural Shakespeare: Translation, Appropriation and Performance , vol. 8 (23), 2011 DOI: 10.2478/v10224-011-0010-9 Theatre Reviews The Tempest . Dir. Janice Honeyman. The Baxter Theatre Centre (Cape Town, South Africa) and the Royal Shakespeare Company (Stratford-upon- Avon, United Kingdom). a Reviewed by Coen Heijes The Multiple Faces of a Multicultural Society The last twenty lines of The Tempest are spoken by Prospero. They are an epilogue in which he asks the audience both for applause and for forgiveness in order to set him, the actor, free. The stage directions indicate that Prospero is by now alone on stage, all the other characters having left in the course of scene 5.1. -
Dr John Kani
CITATION: BONISILE JOHN KANI One of the pioneers of contemporary theatre in South Africa, John Kani’s legacy is one shaped by an extraordinary command of language, storytelling and performance. It is a legacy that has been embedded in performance cultures, theatres and learning spaces across the globe – his body of work studied, performed and archived for future generations. Kani’s deft storytelling, emboldened performances and frank social gaze are a testament to the artist’s broad expressive range, skilled delivery and insightful representation of reality. However, his mastery of acting, directing and writing does not alone encapsulate his significance as an artist; it is his chronicling of South Africa’s historical journey through his art over the last five decades that is of even more importance to our country and beyond. Kani’s unwavering commitment towards social justice is rooted in his creative research through theatre, television and film, as well as his civil society engagements, providing a complex, humane socio- political critique of South Africa’s relational landscape. Bonisile John Kani was born on 30 August 1943 in the Port Elizabeth township of New Brighton, in South Africa’s Eastern Cape province. His prolific career grew from performance to writing and dramaturgy, to directing in theatre, to television and, more recently, to working in film. Today, Kani is an internationally acclaimed actor and writer. His first major encounter with theatre was through the ground-breaking Serpent Players in 1965 in New Brighton. Here, the formidable trio of Kani, Winston Ntshona and Athol Fugard took root, a relationship that saw the creation of Sizwe Banzi is Dead and The Island, which were first performed in the early 1970s. -
About 3 Featured Artist 4 Event Details 14 Where to Get Tickets 16 How To
HOSTED BY: DESTINY FELLOWSHIP CHURCH CONTENTS About 3 Featured Artist 4 Event Details 14 How to Pay 15 Where to get Tickets 16 ABOUT Rooted in the confession of Psalm 14:2, Relentless exists to glorify God by uniting people in worship and prayer for a spiritual awakening in this generation. From its start in 2017, the Relentless Worship Experience has had a singular mission calling all people from across and around Cape Town to live for what matters most. For us, what matters most is the name and renown of Jesus. We believe in this generation and we are watching God use them to change the climate of faith around Cape Town. Relentless has had the privilege of encountering people whose lives have been transformed by the power of the Holy Spirit. Their voice is getting louder as they rise, united as a generation, bringing hope and light to the across Cape Town. Relentless is more than music. More than an event. Relentless is a generation living for His Name. The wave is growing and we invite you to join the movement. DON VINO Facebook: @donvinofanpage With many years of experience in the music industry since 2009 Don Vino along with his amazing band plays any genre of music from Jazz to Gospel, R&B to Afrikaans music. In more recent years. Don Vino has added Musical Theatre performances and Musical Director to his list of attributes. He made his debut theatre performance in the hit musical production David Kramer’s Songbook in 2007 which led him to his role as Music Director in 3 Wise Men, also a David Kramer produc- tion, and featured Mark Lottering, Riaad Moosa and Nik Rabinowitz.