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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’. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Christopher Marlowe: Ideology and Subversion1
Christopher Marlowe: Ideology and Subversion1 ‘In Elizabethan and Jacobean drama ... there is almost no analysis of the particular society of the times’ ... the dramatists ‘believed in their own age... And, accepting their age, they were in a position to concentrate their attention ... upon the common characteristics of humanity in all ages, rather than upon the differences.’2 1. Subversion and Representation To begin from a moment in 1 Tamburlaine when Tamburlaine spectacularly violates an Egyptian and, presumably, an Elizabethan cultural practice or ideological code. A Messenger describes to the Soldan of Egypt the quaint and very theatrical device of Tamburlaine’s white, red, and black tents. The Soldan retorts: Merciless villain, peasant ignorant Of lawful arms or martial discipline! Pillage and murder are his usual trades – The slave usurps the glorious name of war. (1 Tamburlaine, 4.1.64-7)3 His outburst seems to be in excess of the facts until we reflect that, by constituting a new set of martial signals and abrogating to himself the meaning of language (usurping the ‘name of war’), Tamburlaine is in fact re-constituting the state, what the Elizabethans termed the ‘nation’.4 This immodest, audacious upstart is enhancing his absolute military authority over Asia by a process of totalisation, and the Soldan is offering a description not only of sedition but of 1 An early version of this paper was given as a lecture at Corpus Christi College, Cambridge on 12 May 1993 as part of the Corpus Marlowe Celebrations. I am grateful to the Master and Fellows for the invitation to this occasion. -
STEVEN EDIS Freelance Composer/Arranger/Musical Director/Pianist Contact 07973 691168 / [email protected] Agent Clare Vidal Hall 020 8741 7647
STEVEN EDIS Freelance composer/arranger/musical director/pianist contact 07973 691168 / [email protected] agent Clare Vidal Hall 020 8741 7647 New musical theatre composition: Where Is Peter Rabbit? (lyrics by Alan Ayckbourn) – preparing for its 4 th year at The Old Laundry Theatre, Bowness I Capture The Castle (lyrics by Teresa Howard) – co-produced by (& at) Watford Palace Theatre and Bolton Octagon The Silver Sword (lyrics (also!) by Steven Edis) – Belgrade, Coventry and national tour Possessed (lyrics by Teresa Howard) – Oxford Playhouse / Camden People's Theatre The Choker One-act opera co-composed with Jude Alderson – Tête-a-tête Festival. King's Cross A Christmas Carol (lyrics by Susie McKenna and Steven Edis) – Hackney Empire / Arts Theatre, London Other theatre work: Composer Agnes Colander Ustinov,Bath/Jermyn St Theatre Trevor Nunn Composer Aladdin Chipping Norton Theatre John Terry MD/conductor Fiddler On The Roof Guildhall School Martin Connor MD By Jeeves Old Laundry Theatre, Bowness Alan Ayckbourn Co-arranger Promises, Promises Southwark Playhouse Bronagh Lagan Arranger/mus.supervisor Crush Belgrade, Coventry + tour Anna Linstrum MD/arranger A Christmas Carol Noel Coward Phelim McDermott Musical director I Love You, You're Perfect... Frinton Summer Theatre Ben Stock Composer Volpone RSC, Swan Trevor Nunn Composer/research/MD The Captain of Köpenick NT, Olivier Adrain Noble MD/conductor Grand Hotel Guildhall School Martin Connor Arranger Oklahoma UK tour Rachel Kavanaugh Composer Richard III York/Nottingham Loveday Ingram -
Voice Training and the Royal National Theatre Rena Cook
Spring 1999 165 Voice Training and the Royal National Theatre Rena Cook I stepped off the double-decker bus at Waterloo Station with my map in hand, walked several blocks and found the Old Vic quite easily. But the Royal National Theatre Studio, where the orientation was to take place, was nowhere in sight. "Next to the Old Vic," I had been told. With address and directions in my pocket, I surveyed the area as my internal compass spun out of control. After a brief moment of panic, I went to the box office and asked for help. "Out this door, two steps to your left and through the iron gate." I had traveled to London to participate in a course entitled "International Voice Intensive" with Patsy Rodenburg. As I walked up the steps of the studio on that chilly Sunday afternoon, with jet lag hanging heavily on my limbs, I had little idea that in my two weeks study I was about to experience a Zeitgeist of contemporary London theatre, training and practice. The focus was, of course, the voice work under the tutelage of master teacher Patsy Rodenburg, who currently heads the voice departments at the Royal National Theatre and Guildhall School of Music and Drama. In addition, the course participants were exposed to and interacted with some of the finest artists working in Western theatre today, including Trevor Nunn, Richard Eyre, and Judi Dench. Following each exhaustive day of study, workshop, and discussion, we attended theatre, viewing five of the six productions currently in repertory at the National. -
Files/2014 Women and the Big Picture Report.Pdf>, Accessed 6 September 2018
The neuroscientific uncanny: a filmic investigation of twenty-first century hauntology GENT, Susannah <http://orcid.org/0000-0003-0091-2555> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26099/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26099/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. THE NEUROSCIENTIFIC UNCANNY: A FILMIC INVESTIGATION OF TWENTY-FIRST CENTURY HAUNTOLOGY Susannah Gent A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate Declaration I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University’s policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acknowledged. 4. The work undertaken towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy. -
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. -
Shakespeare in Production
Cambridge University Press 978-0-521-77338-6 — The Merchant of Venice William Shakespeare , Edited by Charles Edelman Frontmatter More Information SHAKESPEARE IN PRODUCTION THE MERCHANT OF VENICE For over four hundred years, in every country where Shakespeare’s plays have been performed, The Merchant of Venice has aroused controversy and excitement. This edition is the first to offer a comprehensive account of the Merchant in performance. Charles Edelman’s introduction challenges many of the myths and preconceptions associated with the play, and shows how historical events and cultural attitudes have shaped actors’ interpretations and audi- ence responses. The commentary, printed alongside the text, describes how different actors, directors and designers have approached each character and episode on stage, film and television, from the first performances in the s down to the present day. The extraordinary variety of The Merchant of Venice in production, from England to the United States, from Germany to Israel, from Canada to Aus- tralia to China, presented here in a clear and original way, will give every reader new and different insights into one of Shakespeare’s most powerful but troubling plays. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-77338-6 — The Merchant of Venice William Shakespeare , Edited by Charles Edelman Frontmatter More Information SHAKESPEARE IN PRODUCTION : . This series offers students and researchers the fullest possible staging of individual Shakespearean texts. In each volume a substantial introduction presents a conceptual overview of the play, marking out the major stages of its representation and reception. The commentary, presented alongside the New Cambridge edition of the text itself, offers detailed, line-by-line evi- dence for the overview presented in the introduction, making the volume a flexible tool for further research. -
Cahiers Élisabéthains a Biannual Journal of English Renaissance Studies
Cahiers Élisabéthains A Biannual Journal of English Renaissance Studies General Editors: Yves Peyré & Charles Whitworth Revue fondée en/Founded in 1972 (ISSN 0184-7678) & publiée par/ published by L’INSTITUT DE RECHERCHES SUR LA RENAISSANCE, L’ÂGE CLASSIQUE ET LES LUMIÈRES (IRCL) UMR 5186 du CNRS, Université Paul Valéry, Route de Mende, 34199 Montpellier, France A PLAY, FILM AND OPERA REVIEW INDEX TO Cahiers Élisabéthains 1-70: CORIOLANUS (compiled by Janice Valls-Russell, Managing Editor, IRCL) Issue no. Pages Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, The Aldwych Theatre, London, 9 June 1978 (Jean VACHÉ) 14 111-12 Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, Théâtre National de l’Odéon, Paris, 3-8 April 1979 (Frédéric FERNEY) 16 97-99 Coriolanus, directed by Brian Bedford for the Stratford Shakespeare Festival, Stratford, Ontario, 16 June 1981 (Charles HAINES) 20 119-20 Coriolan, directed by Bernard Sobel, Théâtre de Gennevilliers, 3 March 1983 (Leonore LIEBLEIN) 24 96-97 Coriolanus, produced by Shaun Sutton and directed by Elijah Moshinsky, BBC Shakespeare, BBC 2, 21 April 1984 (G. M. PEARCE) 26 96-98 The Roman Tragedies. 60 mn video cassette, based on Julius Caesar, Antony and Cleopatra, and Coriolanus. Written and presented by David Whitworth, produced and directed by Noël Hardy (G. M. PEARCE) 28 87-88 Coriolanus, directed by Peter Hall, National Theatre, London, 8 May 1985 (G. M. PEARCE) 28 93-95 Coriolanus, directed by Jane Howell, The Young Vic, London, 27 May 1989 (Peter J. SMITH) 36 97-98 Coriolanus, directed by Terry Hands for the Royal Shakespeare Company, Barbican Main Theatre, London, 2 May 1990 (Jill PEARCE) 38 95-96 Coriolanus, directed by Michael Bogdanov for the English Shakespeare Company, Theatre Royal, Nottingham, 12 December 1990 (Peter J. -
The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA)
Recordings at Risk Sample Proposal (Fourth Call) Applicant: The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project: Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Portions of this successful proposal have been provided for the benefit of future Recordings at Risk applicants. Members of CLIR’s independent review panel were particularly impressed by these aspects of the proposal: • The broad scholarly and public appeal of the included filmmakers; • Well-articulated statements of significance and impact; • Strong letters of support from scholars; and, • A plan to interpret rights in a way to maximize access. Please direct any questions to program staff at [email protected] Application: 0000000148 Recordings at Risk Summary ID: 0000000148 Last submitted: Jun 28 2018 05:14 PM (EDT) Application Form Completed - Jun 28 2018 Form for "Application Form" Section 1: Project Summary Applicant Institution (Legal Name) The Regents of the University of California, Berkeley Applicant Institution (Colloquial Name) UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project Title (max. 50 words) Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Project Summary (max. 150 words) In conjunction with its world-renowned film exhibition program established in 1971, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) began regularly recording guest speakers in its film theater in 1976. The first ten years of these recordings (1976-86) document what has become a hallmark of BAMPFA’s programming: in-person presentations by acclaimed directors, including luminaries of global cinema, groundbreaking independent filmmakers, documentarians, avant-garde artists, and leaders in academic and popular film criticism. -
Hallmark Collection
Hallmark Collection 20000 Leagues Under The Sea In 1867, Professor Aronnax (Richard Crenna), renowned marine biologist, is summoned by the Navy to identify the mysterious sea creature that disabled the steamship Scotia in die North Atlantic. He agrees to undertake an expedition. His daughter, Sophie (Julie Cox), also a brilliant marine biologist, disguised as a man, comes as her father's assistant. On ship, she becomes smitten with harpoonist Ned Land (Paul Gross). At night, the shimmering green sea beast is spotted. When Ned tries to spear it, the monster rams their ship. Aronnax, Sophie and Ned are thrown overboard. Floundering, they cling to a huge hull which rises from the deeps. The "sea beast" is a sleek futuristic submarine, commanded by Captain Nemo. He invites them aboard, but warns if they enter the Nautilus, they will not be free to leave. The submarine is a marvel of technology, with electricity harnessed for use on board. Nemo provides his guests diving suits equipped with oxygen for exploration of die dazzling undersea world. Aronnax learns Nemo was destined to be the king to lead his people into the modern scientific world, but was forced from his land by enemies. Now, he is hoping to halt shipping between the United States and Europe as a way of regaining his throne. Ned makes several escape attempts, but Sophie and her father find the opportunities for scientific study too great to leave. Sophie rejects Nemo's marriage proposal calling him selfish. He shows his generosity, revealing gold bars he will drop near his former country for pearl divers to find and use to help the unfortunate. -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.