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The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. -
NSF Programme Book 23/04/2019 12:31 Page 1
two weeks of world-class music newbury spring festival 11–25 may 2019 £5 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 1 A Royal Welcome HRH The Duke of Kent KG Last year was very special for the Newbury Spring Festival as we marked the fortieth anniversary of the Festival. But following this anniversary there is some sad news, with the recent passing of our President, Jeanie, Countess of Carnarvon. Her energy, commitment and enthusiasm from the outset and throughout the evolution of the Festival have been fundamental to its success. The Duchess of Kent and I have seen the Festival grow from humble beginnings to an internationally renowned arts festival, having faced and overcome many obstacles along the way. Jeanie, Countess of Carnarvon, can be justly proud of the Festival’s achievements. Her legacy must surely be a Festival that continues to flourish as we embark on the next forty years. www.newburyspringfestival.org.uk 1 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 2 Jeanie, Countess of Carnarvon MBE Founder and President 1935 - 2019 2 box office 0845 5218 218 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 3 The Festival’s founder and president, Jeanie Countess of Carnarvon was a great and much loved lady who we will always remember for her inspirational support of Newbury Spring Festival and her gentle and gracious presence at so many events over the years. Her son Lord Carnarvon pays tribute to her with the following words. My darling mother’s lifelong interest in the arts and music started in her childhood in the USA. -
The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A. -
2019-20 Drama School V. University Choosing the Right Path for Your Future out of the Spotlight Speak the Speech, Training and Careers I Pray You
STUDENT GUIDE TO www.dramaandtheatre.co.uk/SGDE 2019-20 Drama School v. university Choosing the right path for your future Out of the spotlight Speak the speech, Training and careers I pray you... beyond performance Choosing and preparing monologues Comprehensive advice for those applying to study or train in any aspect of the performing arts 001_SGDE_COVER [APPROVED].indd 1 23/07/2019 13:16 Apply for BA (Hons) and Foundation Courses at ArtsEd! Exceptional triple threat training. Revolutionary stage and screen Acting training. ArtsEd was ranked the top Igniting your drama school for overall student satisfaction in the 2019 National Student Survey with over 90% of students passion for happy with their training. Find out more: www.artsed.co.uk performance [email protected] @ArtsEdLondon 0_SGDE_2019/20.indd 2 05/08/2019 12:48 Welcome Extra online STUDENT GUIDE TO material The Student Guide to Drama Education is also available to 2019-20 read free online, where you will elcome to the Student Guide to Drama Education – a guide designed to off er fi nd links to extra comprehensive advice to anyone thinking of applying to study or train in any aspect of pages of course- Wthe performing arts. listings. Visit www. Everything in this guide has been written straight ‘from the horse’s mouth’ dramaandtheatre. – students and graduates of all the major disciplines share what it’s like to study their courses; teaching staff from world-class Higher Education co.uk from institutions tell you what you need to know about applying for their October 2019. courses; and working professionals in the industry off er career tips for those all-important early years in and out of training. -
William Brent Bell Lauren Cohan
presenta diretto da WILLIAM BRENT BELL con LAUREN COHAN distribuito da EAGLE PICTURES durata 97' AL CINEMA DAL 25 FEBBRAIO 2016 www.eaglepictures.com UFFICIO STAMPA Pierluigi Manzo e Alessio Piccirillo +39.347.0133173 +39.393.9328580 [email protected] - www.manzopiccirillo.com The Boy | 2 THE BOY Seguite le regole 1. Sveglialo 2. Lavalo 3. Vestilo 4. Nutrilo 5. Cantagli una canzone 6. Fallo studiare 7. Leggigli una favola 8. Non coprirgli mail il viso 9. Dagli la buona notte 10. Non lasciarlo mai da solo The Boy | 3 THE BOY Reduce da un tormentato passato, una giovane donna americana si trasferisce in uno sperduto villaggio inglese alla ricerca di una seconda possibilità. Finirà, però, intrappolata in un incubo ad occhi aperti: è questa la trama di The Boy, l’originale horror thriller di William Brent Bell (L’altra faccia del diavolo). Greta (Lauren Cohan) si illude di essere stata assunta come babysitter, salvo realizzare poi che il bambino di 8 anni al quale crede di dover badare, in realtà è la bambola a grandezza naturale degli anziani coniugi Heelshire, che i due trattano come un bambino in carne ed ossa, poiché in lei vedono reincarnato il figlio perso tragicamente 20 anni prima, Brahams. La coppia impone a Greta una lunga serie di regole da rispettare in loro assenza. Ma una volta rimasta sola nell’enorme villa di famiglia, la ragazza ignora le regole e inizia a flirtare con Malcom (Rupert Evans), l’affascinante ragazzo addetto delle consegne, finché una serie di eventi inquietanti e inspiegabili la convincono della presenza di forze soprannaturali. -
Indira Varma Photo: Wolf Marloh
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Phone: + 44 (0) 20 73360351 Email: [email protected] Indira Varma Photo: Wolf Marloh Location: London Eye Colour: Hazel Height: 5'8" (172cm) Hair Colour: Dark Brown Playing Age: 26 - 40 years Hair Length: Mid Length Appearance: Indian, Mediterranean, White Voice Character: Assured Other: Equity, SAG Voice Quality: Velvety Television Television, Piety Breakspear, Carnival Row, Amazon Studios and Legendary Television, Paul McGuigan Television, Anne Eisen, Melrose, Sky Atlantic and Showtime, Edward Berger Television, Jo, Unspeakable, Channel 4, Dave Nath Television, Nina, Paranoid, Mark Tonderai, ITV / Red Productions Television, Lisa Douglas, New Blood, BBC / Eleventh Hour Films, Bill Eagles Television, Ellaria Sands, Game of Thrones Series IV and V, HBO, Various Television, Elaine Markham, What Remains, BBC Drama, Coky Greidroyc Television, George Duggan, Silk, BBC TV, Peter Hoar Television, Nathalie Thorpe, Hunted, Kudos, SJ Clarkson Television, Mattie Wise, World Without End, Scott Free Productions, Michael Caton-Jones Television, Ilsa, Human Target, Fox Network, Various Television, Zoe, Luther, Brian Kirk, BBC TV Television, DCI Lucy Britford, Hustle, Kudos Productions, Iain B McDonald Television, Catherine, Inside The Box, ABC, Mark Tinker Television, Bella, Law And Order Criminal Intent, NBC, Norberto Barbera Television, Amanda, Whistleblowers, Carnival, John McKay Television, Dr Adriana, 3lbs, Paramount, Ken Girotti Television, -
Federation of Drama Schools Agreement
INFORMATION FOR STUDENTS BA Acting or BA Stage & Production Management at East 15 Acting School offer holders only. The following does not apply to applicants holding offers on any other East 15 or University of Essex course. Applicants may only accept a place at one Federation of Drama Schools member school at any one time. If you have already accepted a place and subsequently change your mind and want to accept a later offer, you must cancel your acceptance of the previous place accepted, by writing to the relevant school. Cancellations can be received up to and including 1st July. After 15th July no Federation of Drama Schools member school may make an offer to a candidate who has been offered and accepted a place at another Federation of Drama Schools member school. It is absolutely essential that you do not accept and hold more than one offer of a place at any one time, but you are free to attend auditions/interviews at other schools and may change your mind as often as you wish (provided you decline, in writing the previous offer) up to the closing date given above. If you are offered a place on a course at a Federation of Drama Schools member school, you may, on accepting the offer, be asked for a deposit. Federation of Drama Schools strongly recommends that you make sure you understand each school’s current policy on deposits before entering into an agreement that could have financial implications for you FEDERATION OF DRAMA SCHOOLS SCHOOL’S MEMBERS ARE: ALRA – Academy of Life and Recorded Arts Arts Educational Schools London -
Job Description
Job Description Job title: Assistant Producer Reporting to: Managing Director, Theatre Royal Bath Productions Principal duties: To work with the Managing Director to develop and manage theatre production projects. In particular: 1. To research potential theatre production projects. 2. To liaise with agents about the availability/likely interest of their clients in theatre production projects. 3. To work with the General Manager on all physical aspects of theatre production. 4. To work alongside and manage freelance production staff i.e. company manager and casting directors. 5. To liaise with other producers and theatre managements. 6. To create co-production agreements with other theatre managements. 7. To negotiate deals with agents for the services of actors, understudies, directors, lighting designers, sound designers and other members of creative teams. 8. To draft contracts for the services of the above. 9. To negotiate rights agreements with literary agents. 10. To create and monitor budgets for theatrical productions. 11. To attend first days of rehearsals, run-throughs, previews and press nights and liaise as necessary with directors. 12. To create and maintain the creative team fee/royalties database. 13. To liaise with marketing and press consultants. 14. To process venue contracts. Assistant Producer - Person Specification Skills Essential . Computer literate - Microsoft Word & Excel packages . Accurate typing . Good telephone manner . Excellent communicator – written & oral Experience Essential Experience of working in an organisation with a team environment Desirable . Experience of working in an arts organisation Personal Qualities Essential . Organisational flair with the ability to prioritise workloads . Calm, patient and prepared to work for others . Ability to work swiftly and under pressure . -
Indira Varma Ruth Crafer
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Indira Varma Ruth Crafer Location: Greater London, United Kingdom Eye Colour: Hazel Playing Age: 35 - 45 Hair Colour: Dark Brown Appearance: Mediterranean, White, Indian Hair Length: Mid Length Voice Character: Assured Voice Quality: Velvety Television 2021, Television, Tia, Obi Wan, Lucasfilm / Disney +, Deborah Chow 2021, Television, Khadija Khan, The Capture 2, Heyday / BBC1, James Kent 2019, Television, Safiya, For Life, ABC, George Tillman Jnr 2019, Television, Charlotte, This Way Up, Merman, Channel 4, Alex Winckler 2017, Television, Piety Breakspear, Carnival Row, Amazon Studios and Legendary Television, Paul McGuigan 2017, Television, Anne Eisen, Melrose, Sky Atlantic and Showtime, Edward Berger 2017, Television, Jo, Unspeakable, Channel 4, Dave Nath 2016, Television, Nina, Paranoid, Mark Tonderai, ITV / Red Productions 2015, Television, Lisa Douglas, New Blood, BBC / Eleventh Hour Films, Bill Eagles 2013, Television, Ellaria Sands, Game of Thrones Series IV and V, HBO, Various 2013, Television, Elaine Markham, What Remains, BBC Drama, Coky Greidroyc 2012, Television, George Duggan, Silk, BBC TV, Peter Hoar 2011, Television, Nathalie Thorpe, Hunted, Kudos, SJ Clarkson 2011, Television, Mattie Wise, World Without End, Scott Free Productions, Michael Caton-Jones 2011, Television, Ilsa, Human Target, Fox Network, Various 2009, Television, Zoe, Luther, Brian Kirk, BBC TV 2009, Television, DCI Lucy Britford, Hustle, Kudos -
A Time of Challenge 2021 a Time of Challenge 2021
COVID-19 PANDEMIC Accredited Professional Schools offering Vocational Training in Dance, Drama and Musical Theatre A Time of Challenge 2021 A Time of Challenge 2021 Contents Introduction This report is prepared on behalf of CDMT Accredited schools; institutions that together make an enormous contribution to the Introduction 03 sustainability and international profile of the UK creative industries, and with whom we share a mission for advancing outstanding The Accredited Vocational Training Sector 04 artistic performance. These professional schools and colleges have significant concerns The Challenges 06 about the support needed to restart the sector for business as we emerge from lockdown. The financial impacts on them, and their The Recommendations 10 networks, due to the Covid-19 conditions are of a significant order. We ask that the authorities address more directly the needs, both professional and financial, of these training establishments. Whatever decisions are made for the wider industry, including for theatres and other performance venues, consideration must also be made of the assistance needed to secure the existing ‘pipeline’ of highly trained future professionals on which the sector relies. Prepared by the Council for Dance, Drama and Musical Theatre First edition July 2020 Second edition March 2021 CDMT produces the annual UK Guide to Professional Training, Education and Assessment in the Performing Arts. CDMT Old Brewer’s Yard Covent Garden 0207 240 5703 Workman Robert 17-19 Neal Street London WC2H 9UY [email protected] 2 cdmt.org.uk -
Federation of Drama Schools Response to Covid-19 Pandemic
Federation of Drama Schools Response to Covid-19 Pandemic The Federation of Drama Schools (FDS) represents twenty of the United Kingdom’s leading providers of professional conservatoire performance and technical training. As a community of artists, creators, and innovators, we have come together during the Covid-19 pandemic to provide support, guidance, reassurance and inspiration to our students, staff, graduates, alumni, colleagues and friends within the creative industries. The scale and impact of the coronavirus crisis has been significant upon our sector and related industries, which holds dear the ethos of embodied practice and the necessity of physical interaction in pursuit of understanding and celebrating the human condition. Whilst we are unable to determine the duration of the outbreak we are united in meeting the societal and educational challenges we collectively face with a shared determination and limitless imagination. Each of the FDS member institutions appreciates the scale and complexity of the challenges presented as a consequence of having to deliver conservatoire training programmes via online platforms. However, we also appreciate that we have no option in the present circumstances and therefore it is incumbent upon us to provide confidence, leadership and hope. Each school recognises that whilst the learning experience will be different, we remain committed to ensuring that excellence and high standards of professional practice are maintained in pursuit of continuing to deliver world leading performance and technical training programmes despite the challenges. All schools have had to migrate audition and recruitment processes online at very short notice. We recognise the limitations of this process, however, we are all committed to ensuring that access, opportunity and experience will remain robust, rigorous and fair. -
FURTHER EDUCATION AWARDS 2014/15 Date of Issue: 16 May 2014
Circular Number: Subject: FE 05/14 FURTHER EDUCATION AWARDS 2014/15 Date of Issue: 16 May 2014 Target Audience: Status of Contents: Information • Principals /Directors of FE Colleges • Chairs of Governing Bodies • Student Finance NI - WELB • FE College Finance • Colleges Northern Ireland • College Student Support Officers / Hardship Fund Co-ordinators Summary of Contents: Related Documents: This Circular provides information and guidance on FE 08/07 Further Education Awards. Education [Student Support] Regulations (Northern Ireland) 2012. Superseded Documents: FE 05/13 Expiry Date: N/A Enquiries: DEL Website: www.delni.gov.uk Any enquiries about the contents of this Circular should be addressed to: Tel: 028 90 257547 Further Education Finance Branch Fax: 028 90 257528 Department for Employment & Learning Room 206 Email:[email protected] Adelaide House 39 – 49 Adelaide Street BELFAST BT2 8FD - 1 - Introduction FURTHER EDUCATION AWARDS Further Education Awards are administered by the Western Education and Library Board (WELB) on behalf of the Department. Funding of Further Education Awards are made subject to the conditions specified in this circular and subject to a limited budget targeted at Further Education courses for which there is no statutory support. As a student can only receive one form of publicly funded financial support, students who are planning to, or have already submitted applications and/or are in receipt of any other publicly funded financial support (e.g. EMA) are not eligible to apply for a Further Education Award. Receiving more than one form of Government funding may be construed as fraud and dealt with accordingly. It is the responsibility of the applying student to declare all other publicly funded financial support in their application, failure to do so may result in legal action to recover fraudulent funding and withdrawal of future support.