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Harold Pinter's Bleak Political Vision
http://dx.doi.org/10.18778/7525-994-0.07 Studies in English Drama and Poetry Vol. 3 Paulina Mirowska University of Łódź The Silencing of Dissent: Harold Pinter’s Bleak Political Vision Abstract: The article centres upon one of Harold Pinter’s last plays, Celebration, first performed at the Almeida Theatre, London, on 16 March 2000. Similarly to Party Time, a dystopian political play written almost a decade earlier, Celebration pursues the theme of a sheltered zone of power effectively marginalising a social “other.” This time, however, Pinter adopts the mode of comedy to dramatise the fragile and circumscribed existence of dissent and the moral coarseness of complacent elites. The article traces a number of intriguing analogies between Celebration and Pinter’s explicitly political plays of the 1980s and 1990s dealing with the suppression of dissident voices by overwhelming structures of established power. It is demonstrated how – despite the play’s fashionable restaurant setting, ostensibly far removed from the torture sites of One for the Road, Mountain Language and The New World Order – Pinter succeeds in relating the insulated world of Celebration to the harsh reality of global oppression. What is significant, I argue here against interpreting the humorous power inversions of the social behaviour in Celebration as denoting any fundamental changes in larger sociopolitical structures. It is rather suggested that the play reveals the centrality of Pinter’s scepticism about the possibility of eluding, subverting or curtailing the silencing force of entrenched status quo, implying perpetual nature of contemporary inequities of power. I also look at how the representatives of the empowered in-group in the play contain transgressing voices and resort to language distortion to vindicate oppression. -
British Library Annual Report and Accounts 2007/08 HC777
Bringing knowledge to life Annual Report and Accounts 2007/08 www.bl.uk/knowledge The text and tables included in this Annual Report and Accounts are available in large print, Braille and audio formats. Single copies of this Report are available free of charge to UK libraries. To place an order please contact: T +44 (0)1937 546207 [email protected] Copies can be bought from TSO outlets and via their website www.tso.co.uk/bookshop British Library Annual Report and Accounts 2007/08 Bringing knowledge to life THE BRITISH LIBRARY Thirty-fifth Annual Report and Accounts 2007/08. Annual Report presented in compliance with section 4(3) of the British Library Act 1972 by the Secretary of State for the Department for Culture, Media and Sport. Accounts prepared pursuant to Section 5(3) of the Act and presented by the Comptroller and Auditor General. Ordered by the House of Commons to be printed 17 July 2008 Laid before the Scottish Parliament by the Scottish Ministers 17 July 2008 HC777 London: The Stationery Office £18.55 SG/2008/111 British Library Annual Report and Accounts 2007/08 CONTENTS Introduction 1 Chairman’s statement 2 Chief Executive’s statement 5 Discovering 6 Understanding 8 Advancing 9 Transforming 10 Shaping 12 Developing 13 Inspiring 14 Delivering our strategic priorities 16 Action plan for 2008/09 19 Key performance indicators and funding agreement targets 20 Statistics 22 Structure chart 24 Governance and leadership 26 Grants and donations 30 Annual Accounts 2007/08 34 © Crown Copyright 2008 The text in this document (excluding the Royal Arms and other departmental or agency logos) may be reproduced free of charge in any format or medium providing it is reproduced accurately and not used in a misleading context. -
Politics, Oppression and Violence in Harold Pinter's Plays
Politics, Oppression and Violence in Harold Pinter’s Plays through the Lens of Arabic Plays from Egypt and Syria Hekmat Shammout A thesis submitted to the University of Birmingham for the degree of MASTER OF ARTS BY RESEARCH Department of Drama and Theatre Arts College of Arts and Law University of Birmingham May 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis aims to examine how far the political plays of Harold Pinter reflect the Arabic political situation, particularly in Syria and Egypt, by comparing them to several plays that have been written in these two countries after 1967. During the research, the comparative study examined the similarities and differences on a theoretical basis, and how each playwright dramatised the topic of political violence and aggression against oppressed individuals. It also focussed on what dramatic techniques have been used in the plays. The thesis also tries to shed light on how Arab theatre practitioners managed to adapt Pinter’s plays to overcome the cultural-specific elements and the foreignness of the text to bring the play closer to the understanding of the targeted audience. -
The 1960S Ian Bannen – Richard Pasco – Tom Courtenay – Richard
The 1960s Ian Bannen – Richard Pasco – Tom Courtenay – Richard Chamberlain Ian Bannen, thought to be the first Scot to play Hamlet, had come to Stratford ten years previously as a walk-on. In Peter Wood’s 1961 production, staged at the re-named Royal Shakespeare Theatre, he was the first actor to play the Prince under Peter Hall’s regime as Director. In his startling and controversial performance the noble mind was gone, as was all trace of Ophelia’s portrait of ‘the glass of fashion and the mould of form’. Several critics were appalled at his lunatic neuroticism, and spelt out the symptoms: ‘His eyes are sometimes wild, staring, and seemingly on fire, his body shakes, and his hands and head tremble feverishly,’ wrote one. Another, who judged him ‘unconditionally mad as a hatter’, explained: ‘This man is mad when we first find him, and the full horror of madness, the almost delicious danger, comes once the revenge motif has been sounded by the Ghost, when a paroxysm of rage and physical excitement sweeps the body, and the psychopathic obsession for vengeance becomes a great and sinister game.’ Bannen explained: ‘I see Hamlet as being in a high state of tension the whole time....He needs something to help him relax the tension. That is why he loves codding Polonius, jazzing it up with the Players, and playing around with Rosencrantz and Guildenstern.’ Later he admitted to having over-played the madness. He also confessed he found the part exhausting, because Shakespeare’s mind moved at such enormous speed. -
Angus Mackay Diaries Volume III (1966-1977)
Angus Mackay Diaries Volume III (1966-1977) ANGUS MACKAY DIARY NO. 35 Friday July 22 1966 David rang up last night after his first night, about ten to twelve, from the ‘phone-box outside his digs. (The digs are about ¼ of an hours walk, on the way to Walton-on-the-Naze.) He was absolutely miserable. I have never heard him so depressed. As far as we could tell, there was nothing tangible for him to be depressed about, except that he’d felt ‘wooden’, ‘spastic’, ‘the whole company got the laughs’. I’d say this last had something to do with it, as he’d thought himself rather good and better than the others. An audience soon tells one, and the leading girl, whom he hadn’t thought much of ‘came up fantastically.’ That would throw him technically, too. But principally it’s, of course, that it’s all much harder than he expected. As Peter Hoar said he gave a very good period performance, and he’s playing the murderer, not the detective’s assistant, in the next play. I don’t think they’ve lost faith in him yet! (Also, ‘Jane’ is almost certainly by far the better part of the two – Cinderella usually is – and she probably got a lot of the laughs and the praise.) I hope he’ll pick himself up quickly and get on. This will be the testing time, as he has obviously a tendency to give in unless everything is easy for him. So there he is miserable in digs all by himself, about his acting, just as I wanted him to be. -
Principal Sources Consulted
Principal Sources Consulted Archival Harold Pinter Archive, British Library. Add. Ms 88880 (see British Library website: www.bl.uk). Printed Baker, William, Harold Pinter (London: Continuum, 2008). Baker, William and John C. Ross, Harold Pinter: A Bibliographical History (London: British Library and New Castle, DE: Oak Knoll Press, 2005). Baker, William and Stephen Ely Tabachnick, Harold Pinter (Edinburgh: Oliver & Boyd, 1973). Bakewell, Joan, The Centre of the Bed (London: Hodder & Stoughton, 2003). Billington, Michael, Harold Pinter, rev. edn (London: Faber, 2007). —— ‘Pinter, Harold (1930–2008)’, Oxford Dictionary of National Biography, Oxford University Press, Jan 2012, www.oxforddnb.com/view/article/100647. Codron, Michael and Alan Strachan, Putting It On: The West End Theatre of Michael Codron (London: Duckworth Overlook, 2010). Coleman, Terry, Olivier (London: Bloomsbury, 2005). Esslin, Martin, Pinter the Playwright (London: Methuen, 1982). Fay, Stephen, Power Play: The Life and Times of Peter Hall (London: Hodder & Stoughton, 1995). Fraser, Antonia, Must You Go?: My Life with Harold Pinter (London: Weidenfeld & Nicolson, 2010). Gale, Steven H. (ed.), The Films of Harold Pinter (Albany: State University of New York Press, 2001). —— Sharp Cut: Harold Pinter’s Screenplays and the Artistic Process (Lexington: University Press of Kentucky, 2003). Gale, Steven H. and Christopher Hudgins, ‘The Harold Pinter Archives II: A Des- cription of the Filmscript Materials in the Archive in the British Library’, The Pinter Review: Annual Essays 1995 and 1996, ed. Francis Gillen and Steven H. Gale (University of Tampa Press, 1997), 101–42. Gillen, Francis and Steven H. Gale (eds), The Pinter Review: Annual Essays (University of Tampa Press, 1987–2011). -
The English Theatre Studios of Michael Chekhov And
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/57044 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. The English Theatre Studios of Michael Chekhov and Michel Saint-Denis, 1935-1965 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature Thomas Cornford, University of Warwick, Department of English and Comparative Literary Studies May 2012 1 Contents List of illustrations........................................................................................... 4 Declaration..................................................................................................... 8 Abstract........................................................................................................... 9 Preface............................................................................................................ 10 Introduction 1 The Theatre Studio in Context........................................ 12 Introduction 2 Chekhov and Saint-Denis in Parallel............................... 28 Section 1 The Chekhov Theatre Studio at Dartington, 1936- 1938............................................................................... -
New Titles 2020
Aster Australian Women’s Weekly Cassell Conran Endeavour Gaia OCTOPUS PUBLISHING GROUP Gods eld Hamlyn Ilex New Titles Kyle Miller’s 2020 Mitchell Beazley January - June Monoray Philip’s New Titles Pyramid Spruce | 2020 NEW TITLES NEW January - June The very best in non-ction JANUARY JUNE publishing Octopus Publishing Group Carmelite House 50 Victoria Embankment London EC4Y 0DZ T +44 (0)20 3122 6400 F +44 (0)20 8283 9704 www.octopusbooks.co.uk ISBN: 9780600636700 Contacts ead ce South idland orthern reland Foreign ight gent itriutor Ian Williamson Carmelite House epulic reland Veronique de Sutter T +44 (0)7768 764 397 merica 50 Victoria Embankment Hachette Book Group Ireland France, erman and ueec [email protected] nited State London T +353 1 824 6288 T +44 (0)20 3122 6767 Octopus Books USA EC4Y 0DZ veronique.desutter@octopusbooks. Scotland he orth c/o Hachette Book Group USA T 020 3122 6400 Jim Binchy – Managing Director, co.uk Jack Dennison Attn: Order department F 020 8283 9704 Sales & Marketing T +44 (0)7771 814 916 185 N. Mt Zion Rd www.octopusbooks.co.uk [email protected] Lana de Lucia [email protected] Lebanon, IN 46052 olland, entral Eatern Europe USA UK Trade Sales Enquiries Siobhan Tierney – Sales Manager and reece or call Customer Service: [email protected] [email protected] T +44 (0)20 3122 7160 T +1 800 759 0190 Special Sale Enuirie T +44 (0)7849 607 136 T +1 800 286 9471 UK Regional Sales Team [email protected] Bernard Hoban – Commercial [email protected] Manager Canada roup Field Sale irector [email protected] Marco Rodino Dominic Smith ulicit areting Canadian Manda Group ia inc apan 664 Annette St. -
Celebrating 25 Years 1989–2014
FRIENDS OF THE BRITISH LIBRARY Registered charity no. 328095 Celebrating 25 Years 1989–2014 www.bl.uk/friends Generously sponsored by Vitabiotics Ltd Introduction The British Library has always Forty years ago, when the been a place for the people. Our Library split from the Museum, ultimate founder, Sir Hans Sloane, that tradition of private benefaction, was ‘always ready, on proper public support and universal notice, to admit the Curious to his access continued unabated. The Museum’, with its 50,000 books Government paid for the new and manuscripts which formed Library building and continues the nucleus of the British Library, to pay for most, though by no especially rich in medicine, maps and means all, of its upkeep and its minerals. At his death, he willed that ever-expanding collections. But the his collections should be acquired new Library needed not only to be by the State and made accessible to looked after. It needed to be loved. all. At first, George II wouldn’t play (though later he himself donated the Well before the Queen had opened Royal Library), and it was Parliament the building in 1998 and the first which by a public lottery raised readers had gazed wondering at its the funds to buy the site where the great white atrium, the Friends of British Museum still stands. the British Library had come into existence. For 25 years now, this great registered charity has raised money for the Library, helped to buy desirable items for its collections at auction and by private sale, sought to widen its circle of admirers and spread the enjoyment of the riches that the Library has to offer. -
Harold Pinter /22/ (The Sir Joseph Gold Collection)
A MOSTLY MODERN AFFAIR one hundred pleasures (or so), for now Peter B. Howard Serendipity Books 1201 University Avenue Berkeley, CA 94702 voice: (510) 841-7455 fax: (510) 841-1920 e-mail: [email protected] http://www.serendipitybooks.com Terms 1) Any book may be returned for any reason. 2) California residents please add appropriate sales tax. Design & Layout by: Andrea Latham 558 33rd Street, Richmond, CA 94804 USA (510) 233-3144 I / 5 MANUSCRIPTS, ARCHIVES, AND UNCOMMON BOOKS IN ALL FIELDS C II / 17 TABLE OF CONTENTS AUTHOR AND SUBJECT COLLECTIONS III / 43 SETS IV / 49 AFRICAN-AMERICAN AND CARIBBEAN LITERATURE V / 55 RUSSIAN LITERATURE IN RUSSIAN VI / 61 ART / FINE PRINTING / BOOK ARTS / ILLUSTRATION VII / 69 MODERN FICTION / PROSE VIII / 83 MODERN AMERICAN, BRITISH AND CANADIAN POETRY IX / 93 PHOTOGRAPHY X / 99 DETECTIVE AND SCIENCE FICTION XI / 103 SCREENPLAYS I MANUSCRIPTS, ARCHIVES, AND UNCOMMON BOOKS IN ALL FIELDS / 5 Theophilus Siegfried Bauer /1/ MUSEUM SINICUM. [ca 1730]. Manuscript, folio, imperial Russia, two volumes and index in one binding. On Dutch “J. Honig Zoonen” paper [the paper on which was written the American Declaration of Independence]. Manuscript of the first book on the Chinese language to be published in the West. I: (12) + 73 + (3) + 84; II: (2) + 130 + 104 (including 51 holograph plates of Chinese characters); (101) pp. A full description has been prepared. Hitherto unrecorded. $45,000.00 /2/ Charles Bonnet (1720-1793) OEUVRES D’HISTOIRE NATURELLE ET DE PHILOSOPHIE. Neuchatel: Samuel Fauche, 1779-1783. 18 volumes, complete. 8vo. In original wrappers. $2750.00 postpaid 6 / Jocelyn Brooke /3/ THE WILD ORCHIDS OF BRITAIN [1948-1950]. -
Dissertation
DISSERTATION Titel der Dissertation HAROLD PINTER IN GERMAN: WHAT'S LOST IN TRANSLATION? Verfasserin RENÉE VON PASCHEN, M.A. angestrebter akademischer Grad Doktorin der Philosophie (Dr. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 092 317 Dissertationsgebiet lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof. Dr. Brigitte Marschall 2 2 3 ABSTRACT 7 ZUSAMMENFASSUNG 9 FOREWORD 11 INTRODUCTION 12 1 HAROLD PINTER'S BACKGROUND AS A WRITER 16 1.1 HAROLD PINTER'S BIOGRAPHY 16 1.1.1 PINTER'S CHILDHOOD YEARS 17 1.1.2 PINTER'S ACTING AND DIRECTING CAREER 19 1.1.2.1 Pinter's Acting Career in the Theater ..............................................................................26 1.1.2.2 Pinter's Acting Career and Roles in Cinema...................................................................26 1.1.2.3 Television Films and Roles in Which Pinter Acted........................................................27 1.1.2.4 Radio Broadcasts in Which Pinter Played a Role ...........................................................28 1.1.2.5 Plays Pinter Directed on Stage........................................................................................28 1.1.2.6 Movies and Television Films Directed by Pinter............................................................29 1.1.3 PINTER'S POLITICAL ENGAGEMENT 30 1.1.4 PINTER'S OEUVRE AS A WRITER 35 1.1.4.1 Plays by Pinter.................................................................................................................35 1.1.4.2 Prose and Poetry by -
Politics and Harold Pinter
Victoria Marie Baldwin ‘Look for the truth and tell it’: Politics and Harold Pinter MPhil (B) Drama and Theatre Arts University of Birmingham 24th July 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ‘Look for the truth and tell it’: Politics and Harold Pinter Contents Introduction Politics page 1 Chapter One ‘I told him no one. No one at all’: Gender politics in Old Times’ page 9 Chapter Two ‘You Brought It Upon Yourself’: responsibility in Ashes to Ashes page 27 Chapter Three ‘Art, Truth and Politics’: Pinter Today page 40 Conclusion Is Pinter a ‘political playwright’? page 53 Appendices Bibliography Introduction: Politics ‘I think in the early days […] I was a political playwright of a kind’ (Pinter, 1989, cit. Gussow, 1994: 82). My interest in Pinter as an area of research stems from this assertion. Despite being a prominent playwright, Pinter’s celebrity in recent times has been as much acknowledged for his contribution to political debate as to his involvement with contemporary drama. The Independent newspaper in December 1998 described Pinter as ‘playwright and human rights activist’ (Derbyshire, 2001c: 232) and it seems that his latter role is most certainly assisted by his fame as the former.