Charles II – the Power & the Passion
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
The Court Theatres of the Farnese from 1618 to 1690
This dissertation has been microfilmed exactly as received 68—2969 COBES, John Paul, 1932- THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690. [Figures I-V also IX and X not microfilmed at request of author. Available for consultation at The Ohio State University Library], The Ohio State University, Ph.D., 1967 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan (S) Copyright by- John Paul Cobes 1968 THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio S tate U niversity By John Paul Cobes, B.S., M.A. ******** The Ohio State University 1967 Approved by Z. Adviser Department of Speech PLEASE NOTE: Figures I-V also IX and X not microfilmed at request of auth or. Available for consultation at The Ohio State University Library. UNIVERSITY MICROFILMS. The author wishes to acknowledge, with dee nest gratitude, the assistance, suggestions, and guidance of the following persons, all of whom were instrumental in the camnletion of this study; Dr. Row H. Bowen, adviser to this study, and all the nersonnel of the Theatre Division of the Deonrtment of Speech at the Ohio State University. Dr. John ft. McDowell and Dr. John q . Morrow, advisers to this study, a".d nil +V> -•ersonnel of the Theatre Collection of the Ohio State Universit.w, D r. A l^ent M ancini of th e I t a l i a n D iv isio n o f th e Romance La.-wn.aTes Department of the Ohio State University’. -
Angus Mackay Diaries Volume XVIII (2002 - 2004)
Angus Mackay Diaries Volume XVIII (2002 - 2004) ANGUS MACKAY DIARY NO. 177 Friday February 1 2002 - May 10 2002. Friday February 1 2002 Saturday February 2 2002 To Chiswick this a.m. to shop for K and give him a choice. Got back at twelve, but no sign. Arrived at something after one, animated newsy talk, and an omelette with the blewits and chanterellesI got at the lovely greengrocers - £29.50 a kilo. About two four inch blews and four or five chant. about £3, not bad for such deliciousness. Now it’s Saturday night, and K’s gone, after two wonderful days.I have done nothing except stand up and sit down, and prepare four meals, and I’m exhausted. I fear K might have felt I was lazy or feeble. Well, he started out – ‘Can’t stop here talking, or the light will go’, on the buddleia, ‘which job do you want done first?’ He sawed it right down, and I do see that it’s partly destabilised some bricks. A great relief. I hope that silly fussy man won’t find something else to shout to me about. I was becoming quite reluctant to go into the garden. Horrible to cut anything down, but on balance welcomed it. Comically, the wind was the strongest I’ve heard since I’ve been here. Quite expected a letter of complaint from the next door just as we were cutting down the dangerous bush. They have a ‘patio’ (sic) garden and are clearly nervous of a jungle takeover, or indeed anything they can’t control. -
Bollywood As National(Ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti
Third Text, Vol. 23, Issue 6, November, 2009, 703–716 Bollywood as National(ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti Neelam Srivastava This essay sets out to explore the relationship between violence, patrio- tism and the national-popular within the medium of film by examining the Indian film-maker Rakeysh Mehra’s recent Bollywood hit, Rang de Basanti (Paint It Saffron, 2006). The film can be seen to form part of a body of work that constructs and represents violence as integral to the emergence of a national identity, or rather, its recuperation. Rang de Basanti is significant in contemporary Indian film production for the enormous resonance it had among South Asian middle-class youth, both in India and in the diaspora. It rewrites, or rather restages, Indian nationalist history not in the customary pacifist Gandhian vein, but in the mode of martyrdom and armed struggle. It represents a more ‘masculine’ version of the nationalist narrative for its contemporary audiences, by retelling the story of the Punjabi revolutionary Bhagat Singh as an Indian hero and as an example for today’s generation. This essay argues that its recuperation of a violent anti-colonial history is, in fact, integral to the middle-class ethos of the film, presenting the viewers with a bourgeois nationalism of immediate and timely appeal, coupled with an accessible (and politically acceptable) social activism. As the 1. Quoted in Namrata Joshi, sociologist Ranjini Majumdar noted, ‘the film successfully fuels the ‘My Yellow Icon’, Outlook middle-class fantasy of corruption being the only problem of the coun- India, online edition, 20 1 February 2006, available try’. -
The Sun King and the Merry Monarch
The Sun King and the Merry 1678 Monarch Explores the religious backdrop to one of the largest threats to England's throne - the Popish Plot. Aggravated by the murder of the magistrate Sir Edmund Berry Godfrey, the Plot reflected religious beliefs and insecurities at the By Calum time. Sir Godfrey was my ancestor (of some 11 generations). A visit to his Johnson grave in Westminster Abbey in 2014 inspired me to explore his role in this religious turmoil which hit hard in 17th Century England... The Clergyman and the King of England Leaving for his morning stroll on the 13th of August 1678, Charles II, King of England and Defender of the Faith heard for the first time of a plot to kill him. This was far from unusual. Indeed, just months earlier, a woman in Newcastle had been subjected to a large investigation after stating, "the King deserves the curse of all good and faithful wives for his bad example”. And yet, when Mr Kirkby (his lab assistant) brought Dr Israel Tonge to him at 8 o’clock that evening, the king listened impatiently before handing the matter over to his first minister…. The Religious Pendulum: Change of Faith in England To truly examine the tumult about to hit England in the 17th Century, it is important that we look first at the Religious scene in Europe some 150 years earlier. In the previous century the Reformation began and Protestantism gathered momentum, fuelled by a desire to reduce the exuberance of the Church in Rome with its elaborate sculptures, paintings and stained-glass windows. -
NL-Spring-2020-For-Web.Pdf
RANCHO SAN ANTONIO Boys Home, Inc. 21000 Plummer Street, Chatsworth, CA 91311 (818) 882-6400 Volume 38 No. 1 www.ranchosanantonio.org Spring 2020 God puts rainbows in the clouds so that each of us - in the dreariest and most dreaded moments - can see a possibility of hope. -Maya Angelou A REFLECTION FROM BROTHER JOHN CONNECTING WITH OUR COMMUNITY I would like to share with you a letter from a parent: outh develop a sense of identity and value “Dear All of You at Rancho, Ythrough culture and connections. To increase cultural awareness and With the simplicity of a child, and heart full of sensitivity within our gratitude and appreciation of a parent…I thank Rancho community, each one of you, for your concern and giving of Black History Month yourselves in trying to make one more life a little was celebrated in Febru- happier… ary with a fun and edu- I know they weren’t all happy days nor easy days… cational scavenger hunt some were heartbreaking days… “give up” days… that incorporated impor- so to each of you, thank you. For you to know even tant historical facts. For entertainment, one of our one life has breathed easier because you lived, this very talented staff, a professional saxophone player, is to have succeeded. and his bandmates played Jazz music for our youth Your lives may never touch my son’s again, but I during our celebratory dinner. have faith your labor has not been in vain. And to each one of you young men, I shall pray, with ACTIVITIES DEPARTMENT UPDATE each new life that comes your way… may wisdom guide your tongue as you soothe the hearts of to- ancho’s Activities Department developed a morrow’s men. -
The Statement
THE STATEMENT A Robert Lantos Production A Norman Jewison Film Written by Ronald Harwood Starring Michael Caine Tilda Swinton Jeremy Northam Based on the Novel by Brian Moore A Sony Pictures Classics Release 120 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS SHANNON TREUSCH MELODY KORENBROT CARMELO PIRRONE ERIN BRUCE ZIGGY KOZLOWSKI ANGELA GRESHAM 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1005 SUITE 200 8TH FLOOR NEW YORK, NY 10024 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 445-7100 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 445-0623 FAX: (323) 655-7302 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com THE STATEMENT A ROBERT LANTOS PRODUCTION A NORMAN JEWISON FILM Directed by NORMAN JEWISON Produced by ROBERT LANTOS NORMAN JEWISON Screenplay by RONALD HARWOOD Based on the novel by BRIAN MOORE Director of Photography KEVIN JEWISON Production Designer JEAN RABASSE Edited by STEPHEN RIVKIN, A.C.E. ANDREW S. EISEN Music by NORMAND CORBEIL Costume Designer CARINE SARFATI Casting by NINA GOLD Co-Producers SANDRA CUNNINGHAM YANNICK BERNARD ROBYN SLOVO Executive Producers DAVID M. THOMPSON MARK MUSSELMAN JASON PIETTE MICHAEL COWAN Associate Producer JULIA ROSENBERG a SERENDIPITY POINT FILMS ODESSA FILMS COMPANY PICTURES co-production in association with ASTRAL MEDIA in association with TELEFILM CANADA in association with CORUS ENTERTAINMENT in association with MOVISION in association with SONY PICTURES -
Amazing Grace
AMAZING GRACE UK, 2006, d. Michael Apted It is said that the hymn Amazing Grace is the best known in the English- speaking world. Most would not know that it was written by a ship’s captain, heavily involved in the 18th century slave trade, who experienced a conversion and devoted his later life to prayer and reparation. His name was John Newton – and he is played most movingly here by Albert Finney. However, the focus is on the anti-slavery campaigner, William Wilberforce. He is played with intensity and conviction by television’s Captain Horatio Hornblower, Ioann Gryffudd. And he is supported by a fine and extensive British cast including Michael Gambon as Lord Fox, Benedict Cumberbatch as the young Prime Minister, William Pitt, Rufus Sewell as the activist the Rev. Thomas Clarkson, Ciaran Hinds as the arrogant Lord Tarleton of Liverpool and Romola Garai as Barbara Spooner who eventually married Wilberforce. Most audiences will find Amazing Grace a significant cinema experience. Its style is very much the British heritage recreation of a period, a meticulous presentation of period, costumes, décor and the atmosphere of the times – which culminates in a moving brass band rendition of Amazing Grace. But, what will be important for audiences is the theme of the inhumanity and injustice of slavery and the fact that the plantations of the West Indies and the Americas depended for their prosperity on slave labour and the urban wealth of the 18th century metropolises, especially those in Britain and America, was based on slavery. 2007 sees the 200th anniversary of the Act for Abolition of the Slave Trade throughout the British Empire, although the final Slavery Abolition Act was not passed until 1833, the year of William Wilberforces’s death. -
NOMINATIONS in 2016 LEADING ACTOR BEN WHISHAW London Spy – BBC Two IDRIS ELBA Luther – BBC One MARK RYLANCE Wolf Hall
NOMINATIONS IN 2016 LEADING ACTOR BEN WHISHAW London Spy – BBC Two IDRIS ELBA Luther – BBC One MARK RYLANCE Wolf Hall – BBC Two STEPHEN GRAHAM This is England ’90 – Channel 4 LEADING ACTRESS CLAIRE FOY Wolf Hall – BBC Two RUTH MADELEY Don’t Take My Baby – BBC Three SHERIDAN SMITH The C Word – BBC One SURANNE JONES Doctor Foster – BBC One SUPPORTING ACTOR ANTON LESSER Wolf Hall – BBC Two CYRIL NRI Cucumber – Channel 4 IAN MCKELLEN The Dresser – BBC Two TOM COURTENAY Unforgotten - ITV SUPPORTING ACTRESS CHANEL CRESSWELL This is England ’90 – Channel 4 ELEANOR WORTHINGTON-COX The Enfield Haunting LESLEY MANVILLE River – BBC One MICHELLE GOMEZ Doctor Who – BBC One ENTERTAINMENT PERFORMANCE GRAHAM NORTON The Graham Norton Show – BBC One LEIGH FRANCIS Celebrity Juice – ITV2 ROMESH RANGANATHAN Asian Provocateur – BBC Three STEPHEN FRY QI – BBC Two FEMALE PERFORMANCE IN A COMEDY PROGRAMME MICHAELA COEL Chewing Gum – E4 MIRANDA HART Miranda – BBC One SIAN GIBSON Peter Kay’s Car Share – BBC iPlayer SHARON HORGAN Catastrophe – Channel 4 MALE PERFORMANCE IN A COMEDY PROGRAMME HUGH BONNEVILLE W1A – BBC Two JAVONE PRINCE The Javone Prince Show – BBC Two PETER KAY Peter Kay’s Car Share –BBC iPlayer TOBY JONES Detectorists – BBC Four House of Fraser British Academy Television Awards – Nominations Page 1 SINGLE DRAMA THE C WORD Susan Hogg, Simon Lewis, Nicole Taylor, Tim Kirkby – BBC Drama Production London/BBC One CYBERBULLY Richard Bond, Ben Chanan, David Lobatto, Leah Cooper – Raw TV/Channel 4 DON’T TAKE MY BABY Jack Thorne, Ben Anthony, Pier Wilkie, -
Bro. Lamonby's Notice of Motion. Ancient
BRO. LAMONBY'S NOTICE OF MOTION. the other hand, if it was not in order, it would not, in ordinary circum- stances, have been allowed to appear among the agenda. But in this We do not see how at the Quarterly Communication of Grand Lodge on particular case it has been pointed out that the notice of motion was handed the 6th instant Bro. the Earl of M OUNT EDGCUMBE , D.G.M., Acting- Grand in to the Board of Masters at the last moment, when there was no time to Master, could have adopted any other ruling than he did in respect of Bro. consider whether the motion was a proper one or not. There appears to be no doubt upon this point, and, as it is a reasonable plea in \V. F. LAMONBY 'S notice of motion. That notice was, in brief , to the effect extenuation of an admitted oversight, we see no reason why it should not that the District Grand Secretaries of certain dissolved District Grand be accepted. The Board of Masters say—Bro. LAMONBY 'S notice of Lodges should forward to our Grand Secretary, for retention among the motion should not have been included in the agenda, but it was laid before archives of Grand Lodge, " all books, returns, and documents relating to us at the last moment, when it was impossible to decide whether it was a registrations " formerl y belonging to such dissolved District Grand Lodges. proper motion or not to bc submitted to Grand Lodge. Since our meeting On this motion being submitted , the Grand Registrar immediately rose to we have come to the conclusion—informall y, of course—that the motion order, and pointed out briefly, but clearly and unmistakabl ought not to be submitted. -
7Th MLA Format Hando
Athens State University Library Using the MLA (Modern Language Association) Format The information here comes from the MLA Handbook for Writers of Research Papers (7th edition). It is always best to consult the Handbook first for any MLA question. If you are using MLA style for a class assignment, it is also a good idea to consult your professor, advisor, librarian, or other campus resources, such as the Writing Center at 256-216-6670, for help with using MLA style. General Format for a Paper The general format for papers written in MLA style is covered in chapter four of the MLA Handbook (pages 115-122). Your paper should be typed, double-spaced on standard-sized white paper (8.5 X 11 inches) with margins of 1 inch on all sides. The pages of your manuscript should be numbered consecutively, beginning with the first page, as part of the manuscript header in the upper right corner of each page. Your references should begin on a separate page from the text of the paper with the title Works Cited centered at the top of the page. Citing Sources in Your Text The question of what must be cited (or documented) in your paper is discussed in chapter 2 of the MLA Handbook, and how you cite sources in the text is covered in chapter 6. When using MLA format, the author's last name and the page number(s) for the information used are given in the text. This points the reader to a complete reference to the source, which appears in the Works Cited list at the end of the paper. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan)