Nursing Homes Continue to Refuse Persons with Aids

Total Page:16

File Type:pdf, Size:1020Kb

Nursing Homes Continue to Refuse Persons with Aids VOLUME TWO, NO. 1—January 12, 1989—January 25, 1989 Give the People Light and they will find their own way. V The Wisconsin Light Light Inside... NURSING HOMES CONTINUE TO A TIME TO DIE VIII REFUSE PERSONS WITH AIDS Night of Broken Glass [Madison]. Four prominent Wisconsin Page 2 lawmakers have expessed sharp A BOY OF . Page 4 criticism and "deep concern" over the SUMMER policy of Milwaukee area nursing homes THE LIVELY ARTS . Page 6 barring persons with AIDS from admission. WEEKEND WISCONSIN In a letter to Wisconsin's nursing home associations, State Reps. Tom Barrett Waushara County. Page 8 (D-Milwaukee), Peter Bock (D-Milwaukee), Tim Carpenter MEDICALLY SPEAKING (D-Milwaukee) and David Clarenbach T.B and AIDS Page 9 (D-Madison) cited the policy of 62 nursing homes in the Milwaukee area of denying ALYN HESS admission to persons with AIDS as INTERVIEWED Page 10 "disturbing" evidence that "we have not met the challenge of the existing AIDS POLITICALLY SPEAKING cases, let alone be prepared for the Page 11 future." According to the National Centers for Disease Control, the number of AIDS cases will increase in the coming years. MAP Seeks The nursing homes reported their AIDS policies in response to a Milwaukee AIDS Multilevel Care Project (MAP) inquiry regarding such policies. While some homes said they Facility By 1990 were in the process of developing policies regarding AIDS admissions, none, to with AIDS. It took a lot of caring. It took a lot of date, have admitted a person Douglas Nelson, work. But, long-time Milwaukee Gay According to Fierstein) and Alan (Matthew Broderick) share a quiet breakfast in the film of MAP, the nursing activist Alyn Hess who is living with AIDS Arnold (Harvey Executive Director "Torch Song Trilogy" which opens January 20 at Milwaukee's Oriental Theatre. a reason for refusing has been accepted for long-term care by homes that provided their employees were Greentree Hospice. admission stated trained" to care for The fact that this has happened is due not "properly Exhilarating, Poignant "Torch with AIDS. to the Milwaukee AIDS Project (MAP). It persons All nursing homes contacted, however, is due to those who work there and give to the Screen persons with hepatitis-B virus, their time and talents and those who, over Song Trilogy" Comes accept TURN TO NURSING HOMES, PAGE 10 the years, have raised money in countless By Geno Gay fifteen-year-old is Arnold's adopted fundraisers that allow MAP to help The award winning Broadway play is son and that Ed has left his wife, Laurie, people like Alyn. Ben-Shalom Wins now a movie! Harvey Fierstein's "Torch and is living with Arnold, she explodes. Perhaps some are not aware of the all Song Trilogy" won two Tony awards — This unconventional menage outrages situation. You should be, for if you've she and Arnold best play and best actor — and as her ideas of family, and Army Battle given money to MAP, you made it other, battling toe to toe Fierstein's labor of love (he wrote the confront each [Milwaukee]. Federal Judge Myron L. happen. a understanding and play, appeared in it and wrote the until they reach new Gordon declared unconstitutional January Alyn was at Milwaukee's St. Joe's for each other. screenplay) it comes triumphantly to the respect 10 a US Army Reserve regulation that Hospital. According to his doctor there, the end of the film, Arnold is happily screen. The film will begin an exclusive At bars Lesbians and Gays from re-enlisting he was "medically stable." But he by the symbols of the most showing in Milwaukee at the Oriental surrounded in the Reserve. needed a place to live where he could forces in his life — a portrait of Theatre on Friday, January 20th, and important The ruling came in the case of receive help in daily living. Greentree Alan, oranges that Ma brought up from openings elsewhere in the state will be Milwaukee's Miriam Ben-Shalom who Hospice wanted to help. According to Florida, Ed's eyeglasses, David's base- announced shortly in local newspapers. has waged a 12 year battle against the Doug Nelson, Executive Director of MAP, ball cap, and his rabbit ear bedroom From its first birds-eye view of military for her right as an open Lesbian Greentree was 'very, very good, very slippers. Brooklyn in the 60's, the movie throbs to serve in the armed forces. caring." has assembiea a oynamic cast with life and energy as the camera zooms Fierstein The problem was a couple of HMO's to bring his play to life, and most cast in on Mama finding little Arnie Beckhoff bickering over which one would pay the have taken less than their usual putting on her make-up and trying on her members hospice. In Nelson's words "it was the to take part in this labor of love. dresses. This first part of the trilogy salaries insurance industry not responding the "names" in the cast private immediately takes the viewer into the life Paradoxically, to care needs. The business focus was satisfying. The almost legendary of Arnold the drag queen (Harvey are least in the way of the care focus." acts her heart out, but you are getting Fierstein) belting out torch songs as Bancroft The situation was resolved when MAP, always aware that she is acting and no Virginia Hamm (a.k.a. Anita Boy and represented by Nelson, brought its matter how much she "kvetches" she is Bang Bang La Dash). Rowdy scenes of to bare on the decision makers in not a convincing Jewish mother. weight Arnold and "the girls" performing are simply the two insurance companies. An Still, her confrontation with Arnold in the rapidly inter-cut with Arnie talking agreement was reached that the two cemetery as she mourns her husband and intimately to the camera about his frank, HMO's would split the cost and argue Arnold says Kaddish at Alan's grave is funny, and sometimes angry demands for later. In the meantime, Alyn would devastating, gut-wrenching. respect and love. He meets Ed, a bisexual receive the help he needed. Matthew Broderick as the male model school teacher in a Gay bar, and life takes The weight that MAP has and uses for Alan is sweet and attentive and probably on a rosy, romantic hue for a while until the benefit of its clients is largely due to that is all the role demands. Arnie suspects that Ed is dating someone support the organization receives But the really appealing portrayal is Sgt. Mariam Ben Shalom the else, only to discover that the "other from the Lesbian/Gay community, Nelson Brian Kerwin's as Ed — he and Fierstein man" is a young woman, Laurie (Karen The decision stated that a person could have the most expressive faces so that said. Young). End of romance and Part I. not be prevented from serving in the Light that "No issue is even their inner thoughts can be read in Nelson told The second wing of the triptych focuses military based on his/her sexual Map] than getting them. They are real, they are themselves, more important [to on Alan (Matthew Broderick), the young orientation. quality care for clients." Alyn is an they don't seem to be acting. And this is lover whose death Arnold will mourn for Ben-Shalom told Light that this ruling is of this, but only one example. largely true of the rest of the cast. example the rest of his life. We also meet Arnold's "one in a series of victories that she has huge problem that MAP confronts Eddie Castrodad is delightful as the A family — father, mother and lawyer achieved. However, it would appear to and in the future, Nelson said, is that adopted son (the role which Matthew now brother — who try to understand and this reporter that Ben-Shalom is being too care such as Alyn needed for Broderick played in the original state of long-term accept his lifestyle. The theme of family modest. untold numbers who are now or who version); the "girls" seem completely at the dominates this section and the poignant This legal victory over the Army which will find themselves in his situation. home onstage and off; and even the two scene of Alan accompanying Arnold to his is unique has been won by a woman and a The question is, why couldn't Alyn and chorus boys (Robert Neary father's funeral will hit home for many. eye-catching woman from Wisconsin. While men often other PWA's in similar need be admitted Nick Montgomery) are right at home Alan and Arnold decide to adopt a son to and pride themselves in being the to a nursing home? The answer is, and enjoying themselves. create their own family, then another "flag-bearers" in the cause of civil according to Nelson, that at present, there dialogue is hip, clever, fast- family situation is explored when Alan The rights, it should be pointed out and is a "chunk of the health care system that moving and many lines are virtual and Arnold are invited to spend a pointed out strongly, that a woman, is not responding [to the needs of AIDS ("A thing of beauty is a joy weekend in the country with Ed and throwaways fighting alone and at great sacrifice, won patients], the nursing homes," said till but, again, its naturalness Laurie. Another comic disaster. morning"), this land-mark victory. No man did this.
Recommended publications
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • Performing History Studies in Theatre History & Culture Edited by Thomas Postlewait Performing HISTORY
    Performing history studies in theatre history & culture Edited by Thomas Postlewait Performing HISTORY theatrical representations of the past in contemporary theatre Freddie Rokem University of Iowa Press Iowa City University of Iowa Press, Library of Congress Iowa City 52242 Cataloging-in-Publication Data Copyright © 2000 by the Rokem, Freddie, 1945– University of Iowa Press Performing history: theatrical All rights reserved representations of the past in Printed in the contemporary theatre / by Freddie United States of America Rokem. Design by Richard Hendel p. cm.—(Studies in theatre http://www.uiowa.edu/~uipress history and culture) No part of this book may be repro- Includes bibliographical references duced or used in any form or by any and index. means, without permission in writing isbn 0-87745-737-5 (cloth) from the publisher. All reasonable steps 1. Historical drama—20th have been taken to contact copyright century—History and criticism. holders of material used in this book. 2. Holocaust, Jewish (1939–1945), The publisher would be pleased to make in literature. 3. France—His- suitable arrangements with any whom tory—Revolution, 1789–1799— it has not been possible to reach. Literature and the revolution. I. Title. II. Series. The publication of this book was generously supported by the pn1879.h65r65 2000 University of Iowa Foundation. 809.2Ј9358—dc21 00-039248 Printed on acid-free paper 00 01 02 03 04 c 54321 for naama & ariel, and in memory of amitai contents Preface, ix Introduction, 1 1 Refractions of the Shoah on Israeli Stages:
    [Show full text]
  • Tony Kushner's Angels in America Or How American History Spins Forward
    Tony Kushner’s Angels in America or How American History Spins Forward Alfonso Ceballos Muñoz Universidad de Cádiz [email protected] Abstract Angels in America’s roaring success represents a real turning point in mainstream American drama. This article explores both Kushner’s treatment of history— particularly American history—and the ingredients which compound the melting pot American society had become in the 1980s. Through the specific situations the characters undergo in both Millennium Approaches and Perestroika, the playwright exposes his own Brechtian and neo-Hegelian vision of current events. Kushner deliberately recycles traditional American myths and elements of American culture and pins them all on a reconstruction of identity—whether gender, racial, or political—as the real axes of his plays. By making gay characters lead the plays, and by including obvious religious elements from an apocalyptic literary style, political discussions on Reagan’s policy on AIDS, and reminiscent historical images, Angels in America becomes a revision of the new National Period America is living as the promised land which every single individual re-creates with her/his daily efforts and capabilities. “The people look skyward seeking aid from above, and the Angel of History appears on the horizon his eyes staring, mouth open and wings spread, while human catastrophes are hurled before his feet”. Walter Benjamin, “Theses on the Philosophy of History”. “History is a ribbon, always unfurling; history is a journey. And as we continue our journey, we think of those who travelled before us”. Ronald Reagan’s Second Inaugural Address. January 21, 1985 “We won’t die secret deaths anymore.
    [Show full text]
  • PFT's EDUCATION PACK
    PFT’s EDUCATION PACK - TRAVESTIES 1 PFT’s EDUCATION PACK - TRAVESTIES 2 TRAVESTIES by Tom Stoppard CONTENTS 3 Cast & Creatives 4 Introduction to Pitlochry Festival Theatre 5 Introduction to the Play 6 Introduction to the Author 7 Characters in the Play 8 Play Synopsis (+ videos) 9 Real People behind the Characters: Tristan Tzara 10 Real People behind the Characters: James Joyce 11 Real People behind the Characters: Lenin 12, 13 Real People behind the Characters: Henry Carr 14 - 16 History & Background to the Play 17, 18 Parallels between Travesties & The Importance of being Earnest (+ videos) 19 - 22 Five Questions with the Designer 23 Resource articles and reviews PFT’s EDUCATION PACK - TRAVESTIES 3 CAST & CREATIVES Henry Carr Mark Elstob Tristan Tzara Graham Mackay Bruce James Joyce Alex Scott Fairley Lenin Alan Steele Bennett Carl Patrick Gwendolen Camrie Palmer Cecily Lucie-Mae Sumner Nadya Helen Logan Director: Richard Baron Set & Costume Designer: Adrian Rees Lighting Designer: Wayne Dowdeswell Choreographer: Chris Stuart Wilson Sound Designer: Jon Beales Assistant Director (Dialect): Helen Logan Stage Manager: Kate Schofield Assistant Stage Manager (Book): Helen Ashman Assistant Stage Manager (Floor): Lily Howarth Production Photographer: Douglas McBride Please note that all copy, content and images in this education pack are copyrighted and all the designs featured are the intellectual property of the designers. PFT’s EDUCATION PACK - TRAVESTIES 4 Introduction to PFT A unique repertory theatre in the heart of Highland Perthshire. We produce six plays in a summer season. This year we have presented: Chicago by Fred Ebb, Bob Fosse and John Kander The Rise and Fall of Little Voice by Jim Cartwright Travesties by Tom Stoppard Quality Street by J M Barrie Before the Party by Rodney Ackland (based on a short story by Somerset Maughan) The Last Witch by Rona Munro We have an ensemble of 17 actors who we auditioned around the UK back in December 2017.
    [Show full text]
  • Masculinity, Memory and the 1980S in British Cinema, 2005 – 2010
    The History Boys? : Masculinity, Memory and the 1980s in British Cinema, 2005 – 2010 Andy Pope The thesis is submitted in partial fulfilment of the requirements of the award of the degree of Doctor of Philosophy of the University of Portsmouth School of Media and Performing Arts – University of Portsmouth May 2015 Abstract This study will consider the function of cinema in British society’s ongoing relationship with the 1980s. Its focus on a key period of recent British film history acknowledges popular culture’s flourishing identification with this decade, reflected through a number of media including literature, music and fashion. I argue that with seventeen films set in the 1980s and produced between 2005 and 2010, British cinema is at the centre of this retrospective, providing a unique perspective on our relationship with the era. But what are the determinants of this mediated reminiscence and what does it say about the function of cinema in rendering the past? I contend that a key aspect of this channelling of popular and personal memory is the role of the writer and director. Nearly all male and mostly middle- aged, the films’ creative agents present narratives that foreground young male protagonists and specifically masculine themes. These thematic concerns, including patriarchal absence and homosocial groups, whilst anchored in the concerns of their 1980s socio-political landscape also highlight a contemporary need for the films’ authors to connect to a personal past. Through reference to sociological, cinematic and political discourse, amongst others, this study will also consider the role of memory in these films. It will contend that the films present a complex perspective of the 1980s, highlighting an ambivalent relationship with the period that transcends nostalgia.
    [Show full text]
  • AMADEUS Previews Begin Wednesday, September 4
    CONTACT: Nancy Richards – 917-873-6389 (cell) /[email protected] MEDIA PAGE: www.northcoastrep.org/press FOR IMMEDIATE RELEASE, PLEASE: NORTH COAST REPERTORY THEATRE SELECTS TONY WINNING MASTERPIECE AMADEUS TO BEGIN SEASON 38 ON A ROUSING NOTE By Peter Shaffer Performances Beginning Wednesday, September 4, 2019 NOW EXTENDED TO OCTOBER 6TH Directed by Richard Baird Solana Beach, Calif. – With the glorious music of Mozart as a backdrop, Peter Shaffer’s AMADEUS assures North Coast Repertory Theatre of a grand start to Season 38. The Tony winner for Best Play weaves the fascinating tale of composers Wolfgang Amadeus Mozart and Antonio Salieri. Told in a series of flashbacks laced with humor, intrigue and personal insight, AMADEUS examines two men – one consumed with jealousy; the other, blissfully unaware of his extraordinary gifts. Deemed “terrifically entertaining and highly theatrical” by The New York Times, this audience favorite deftly explores musical genius by a master playwright. Tickets are already going quickly, so order now. Richard Baird directs Tony Amendola,* Rafael Goldstein,* Kathryn Tkel,* Louis Lotorto,* Nick Kennedy, Andrew Oswald,*Andrew Barnicle,* Alice Sherman,* Christopher M. Williams,* and Leigh Ellen Akin in AMADEUS. The design team includes Marty Burnett (Scenic Design), Matthew Novotny (Lighting), Elisa Benzoni (Costumes), Philip Korth (Props) and Peter Herman (Hair and Wig Design). Aaron Rumley* is the Stage Manager. *The actor or stage manager appears through the courtesy of Actors’ Equity Association. For photos, go to www.northcoastrep.org/press. AMADEUS previews begin Wednesday, September 4. Opening Night on Saturday, September 7, at 8pm. A new Preview Matinee has been added on Friday, September 6 at 2pm and Wednesday, September 25 at 2pm.There will be a special talkback on Friday, September 13, with the cast and artistic director.
    [Show full text]
  • Adapting the Past Adapting
    ADAPTING THE PAST Brian McFarlane ISSUE 46 SCREEN EDUCATION 18 SONGS OF EXPERIENCE What film adaptation – and the word should warn us of this – is not and cannot be about is providing us with the same experience as that offered by the ADAPTING THE PAST earlier text. Brian McFarlane HE most expensive ‘book’ the other two in support of my case that lating it to another semiotic system, one that I have bought in liv- there is no avoiding the phenomenon in of audio-visual moving images will enjoin ing memory is Frank Mill- the cinema, and why would one try? Fur- on the new work all manner of ‘change’, er’s graphic novel, 300.1 ther, each of the four titles draws on a ‘alteration’ and ‘accommodation’. (In the (Now that I’m finished with different kind of anterior text, and each case of Becoming Jane, it is not even a it, I’m open to offers for in its way derives from a kind of ‘history’: matter of adapting a precursor ‘text’ – Tan almost new hardback.). By chance, it that is, from a set of circumstances that unless one counts Austen’s letters as a cost almost the same as the ticket I had had their referents in the ‘real’ worlds text – but of re-imagining a possible in- for the MTC’s production of Alan Ben- of the past, whether of early nineteenth terlude in the life of the great novelist. It nett’s The History Boys. The profound century England or of upcountry Victoria seems widely accepted that Jane Austen point made here is that if you take ad- or an English grammar-school education did engage in at least a mild flirtation aptation seriously, it can be a very ex- in the mid-twentieth century or of a battle with the impecunious young Irishman, pensive business.
    [Show full text]
  • Of Seattle Theatre) Is Female
    OCTOBER 2018 Oct 12–Nov 11 by J.T. Rogers directed by John Langs October 2018 Volume 15, No. 2 FALL 2018 Paul Heppner President Mike Hathaway Contents Vice President Feature Kajsa Puckett 3 The Future is Female Vice President, Marketing & Business Development Dialogue Genay Genereux 9 Courtney Sale on Accounting & Office Manager The Velveteen Rabbit Production at Seattle Children's Susan Peterson Theatre Design & Production Director 13 Geoff Larson on Jennifer Sugden Assistant Production Manager illuminating literature with music Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers Intermission Brain Transmission Sales 15 Test yourself with our Amelia Heppner, Marilyn Kallins, Terri Reed trivia quiz! San Francisco/Bay Area Account Executives Encore Stages is an Encore Arts Joey Chapman, Brieanna Hansen, Program that features stories about Ann Manning, Wendy Pedersen Seattle Area Account Executives our local arts community alongside information about performances. Carol Yip Encore Arts Programs are publications Sales Coordinator of Encore Media Group. We also publish Marketing City Arts, a monthly arts & culture Shaun Swick magazine, and specialty publications, Senior Designer & Digital Lead including the Offical Seattle Pride Guide and the SIFF Guide and Catalog. Learn Ciara Caya Marketing Coordinator more at encoremediagroup.com Encore Media Group Encore Stages features the Corporate Office following organizations: 425 North 85th Street Seattle, WA 98103 p 800.308.2898 | 206.443.0445 f 206.443.1246 [email protected] www.encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas.
    [Show full text]
  • Stewart-Mastersreport-2015
    Copyright by Charles Stewart III 2015 The Report Committee for Charles Stewart III Certifies that this is the approved version of the following report: “And one lucky bastard who’s the artist”: V. I. Lenin and Oscar Wilde’s Ideologico-Aesthetic Debate in Tom Stoppard’s Travesties APPROVED BY SUPERVISING COMMITTEE: _______________________________________ James Loehlin, Supervisor _______________________________________ David Kornhaber “And one lucky bastard who’s the artist”: V. I. Lenin and Oscar Wilde’s Ideologico-Aesthetic Debate in Tom Stoppard’s Travesties by Charles Stewart III, B.A. Report Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2015 JACK That, my dear Algy, is the whole truth pure and simple. ALGERNON The truth is very rarely pure and simple. Modern life would be very tedious if it were either, and modern literature a complete impossibility! JACK That wouldn’t be at all a bad thing. ALGERNON Literary criticism is not your forte, dear fellow. Don’t try it. Oscar Wilde, The Importance of Being Earnest Acknowledgements I would like to thank the Harry Ransom Center at the University of Texas at Austin for permission to quote from the Tom Stoppard Papers here, as well as for their generosity in aiding my search through the archive. I would also like to thank my second reader, David Kornhaber, for his insightful and useful feedback; and my supervisor, James Loehlin, for introducing me to Tom Stoppard and the archive at the HRC, and for his support in the development of my reading of this play.
    [Show full text]
  • Travesties Illinois Theatre
    TRAVESTIES ILLINOIS THEATRE By Tom Stoppard | Laura Hackman, director Thursday-Saturday, October 19-21, 2017, at 7:30pm Thursday-Saturday, October 26-28, 2017, at 7:30pm Sunday, October 29, 2017, at 3pm Colwell Playhouse labs for our students, who use them to prepare as professional theatre artists. Our first two,All the King’s Men and Travesties, are perhaps the most educational. They are both about historical moments of resistance to the political status quo as well as the limits of that resistance. Of all the revolutions, I think the sexual revolution might be the best. Sarah Ruhl’s funny, feminist In the Next Room, or the vibrator play takes the invention of the vibrator as a starting point for the revolution in how women conceived of their sexuality, RESISTANCE maternity, relationships, and labor. Barbecue is also revolutionary, though in a REVOLUTION more Brechtian sense. It demands we rethink what we “know” and then act on our new RESURGENCE knowledge. I’ve been making, studying, and teaching We also transport audiences to a better theatre for most of the last 40 years. And world. Twelfth Night invites us to imagine I’m often asked about the role of theatre. a kingdom of filial and romantic love Is it meant to entertain and educate, as (sometimes thwarted) and offers wonder Roman philosopher Horace wrote in the Ars and joy. My hope is always resurgent after Poetica? Or do we follow the Sanskrit Nātya seeing Shakespeare. Śāstra, which suggests that the primary goal of theatre is to transport the audience to a Of course, we entertain.
    [Show full text]
  • War Horse Education Pack
    based on a novel by Michael Morpurgo adapted by Nick Stafford Education pack In association with Handspring Puppet Company National Theatre Education Pack 1 War Horse Education pack Contents Foreword 3 The National’s production 4 The story Synopsis 5 Michael Morpurgo 11 This workpack is published by and copyright The Royal National Theatre Board Reg. No. 1247285 Putting the production together Registered Charity No. 224223 The script 15 Views expressed in this workpack are not necessarily Research 16 those of the National Theatre Puppet and character 17 Editors Emma Gosden Puppet rules 18 Ben Clare Design Clare Parker Cast interviews 21 Directors Marianne Elliott and Tom Morris NT Education National Theatre First World War 29 South Bank London SE1 9PX T 020 7452 3388 F 020 7452 3380 E educationenquiries@ Learning: Year 6 Literacy Unit of Work 38 nationaltheatre.org.uk Workpack contributors Dawn Ingleson (War Horse Learning Manager); Emma Gosden Learning: KS3 English Scheme of Work 44 Polly Findlay (original staff director on War Horse); Heather Neill; Robert Butler; Lyn Sear (independent literacy Multimedia Resources 75 consultant); Louise Elstone and Sam Haseler (from Ellen Wilkinson School) The production photographs used in this education pack show various War Horse London casts since 2007. Further production details: Click on this arrow, when you see it, for more online resources. nationaltheatre.org.uk National Theatre Education Pack 2 Foreword Our collaboration with Handspring Welcome to the National Theatre’s Puppet Company on an adaptation education pack for War Horse, which is full of information and thoughts about the of Michael Morpurgo’s seemingly production and how it has been made.
    [Show full text]
  • Travesties Notes © 2009 1
    Sydney Theatre Company and HWL Ebsworth Lawyers present Directed by Richard Cottrell Teacher's Resource Kit Written and compiled by Jeffrey Dawson Acknowledgements Sydney Theatre Company would like to thank the following for their invaluable material for these Teachers' Notes: Laura Scrivano, Publications Editor, STC Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company’s Travesties Notes © 2009 1 Contents Sydney Theatre Company 3 STC Ed 4 Production Credits 5 Travesties Plot Summary 6 The Writer ‐ Tom Stoppard 8 Character Summaries 15 Activities Before the Play 18 Questions for students who haven’t read the play Questions for students who have read the play Activities After the Play 24 Questions for students who hadn’t read the play Questions for students who had read the play Bibliography ‐ Web sites 26 In addition to what’s contained in these notes, we encourage you and your students to access video interviews, images and reviews located on the Schools Day: Travesties page of the website. Sydney Theatre Company’s Travesties Notes © 2009 2 About Sydney Theatre Company Sydney Theatre Company (STC) produces theatre of the highest standard that consistently illuminates, entertains and challenges. It is committed to the engagement between the imagination of its artists and its audiences, to the development of the art form of theatre, and to excellence in all its endeavours. STC has been a major force in Australian drama since its establishment in 1978.
    [Show full text]