Debbie Tucker Green

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Debbie Tucker Green Agent Katie Haines ([email protected]) Theatre HANG (The Royal Court Theatre) 2015 NUT (Royal National Theatre – Shed) 2013 Writer/Director TRUTH AND RECONCILIATION (Royal Court Theatre) 2011 Writer/Director RANDOM (Tour – Royal Court Theatre0 2011 Dir. Sacha Wares GENERATIONS (Young Vic) 2007 Dir. Sacha Wares TRADE (RSC New Work Festival-Stratford) 2005-6 Dir. Sacha Wares Atlantic Theatre Company entrant to HotINK Reading in New York STONING MARY (Royal Court Theatre Downstairs) 2005 Dir. Marianne Elliott New York Theatre Workshop Reading 2006 Shortlisted: Susan Smith Blackburn Award 2006 BORN BAD (Hampstead Theatre) 2003 Dir. Kathy Burke Shortlisted: Susan Smith Blackburn Award 2003 Winner: Olivier Award for Most Promising Newcomer 2004 DIRTY BUTTERFLY (Soho Theatre) 2003 Dir. Rufus Norris Remounted at the Young Vic 2008 Dir. Michael Longhurst Film and Television SECOND COMING (Hillbilly/Film 4) General release June 2015 Writer/Director Starring Idris Elba and Nadine Marshall This film is supported by the Sundance Institute Feature Film Programme Selected: TIFF, LIFF BOX (Left Bank) VELMA (Rainmark/BBC) RANDOM (Hillbilly/Film 4) 2011 Writer/Director Winner: Best Single Drama – 2012 BAFTA Awards Winner: MVSA Awards for Best UK Film 2011 and Best Actress for Nadine Marshall Nominated: Best Actress Award for Nadine Marshall – 2012 BAFTA Awards Nominated: Best Editing and best graphics – 2011 RTS Design and Craft Awards Nominated: Best NEW Programme – 2011 Broadcast Awards HEAT (Hillybilly) 2009 Short Film Writer/Director SPOIL (IWC/Channel 4) 2007 Original single Part of the ‘Coming Up’ Series Radio GONE (BBC Radio 3) 2010 75’ original play Writer and Director RANDOM (BBC Radio 3) 2008 Writer/Director HANDPRINT (BBC Radio 3) 2006 60’ original drama Dir. Mary Peate TO SWALLOW (BBC Radio 4) 2003 FREEFALL (BBC Radio 3) 2002 60’ original drama Dir. Mary Peate Shortlisted: Prix Europa award © Copyright The Agency (London) Ltd. 2015 Not to be reproduced in any form without permission of the Copyright holder. .

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Demarcating Dramaturgy
Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
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Dive Into the Hornets Nest with Hang
Media Contact: Dawn Kellogg Communications Manager (585) 420-2059 [email protected] FOR IMMEDIATE RELEASE DIVE INTO THE HORNETS’ NEST AT GEVA THEATRE CENTER The 13th Season of Geva’s nationally-recognized program of thought-provoking theatre continues on February 3rd with hang by debbie tucker green. Rochester, N.Y., January 21, 2020 - Few experiences can ignite a great conversation like a thrilling night in the theatre. The Hornets’ Nest series has theatre-goers itching for that conversation. The Hornets’ Nest series of script-in-hand readings with professional actors and directors returns with three plays investigating the most challenging and controversial ethical dilemmas of our time. Following each reading, audience members will have the opportunity to engage in open discussion with key figures from the Rochester community. Since its inception in 2007, the Hornets’ Nest series of readings has become nationally recognized and lauded as one of the most innovative theatrical initiatives in the country. The 2019-2020 series continues on February 3 with hang by debbie tucker green and directed by Pirronne Yousefzadeh. A crime has been committed. The victim has a choice to make. The criminal is waiting. In an undefined space, three unnamed characters (One, Two and Three) are engaged in a judicial process. One and Two are officials overseeing the case, while Three (a Black woman) is there to decide the fate of a man who has committed an unspecified crime against her family. hang is shattering play about one woman's unspeakable decision. What is the line between criminal justice and revenge? Should repentance impact a demand for justice? debbie tucker green is a British playwright, screenwriter, and director.
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Terrible Rage)
JCDE 2018; 6(1): 15–39 Dan Rebellato* Nation and Negation (Terrible Rage) https://doi.org/10.1515/jcde-2018-0009 Abstract: The aftermath of the Brexit referendum has revealed a deeply divided Britain, with anger on both sides and seemingly little desire to seek compromise or mutual understanding. Remainers denounce Leavers as ignorant bigots. Lea- vers denounce Remainers as metropolitan elitists. Theresa May went even further, characterizing supporters of open borders and free movement as ‘citizens of nowhere’ whose lack of attachment to nation suggests they simply don’t under- stand what citizenship means. Given the UK’s regional correlation between high levels of theatregoing and high support for Remain, this is a challenge for theatre- makers and scholars. One strong feature of contemporary British playwriting is a detachment from place; in numerous recent plays, place is estranged, unspeci- fied, annulled, orphaned, globalized, generalized, combined, relativized and scenographically anonymized. Does this represent an absence of nation? No, because this would be to accept the rigid oppositions of the Leave campaign between nations and open borders, between the local and the global. Instead, there is a restless deconstructive movement within the very identification of nation that moves to transcend it and this is captured and embodied in the heterotopic ambiguities of the spatially specific performance of the placeless play. Keywords: theatre, playwriting, dramaturgy, Brexit, European Union, space, place, nation, state, globalization, heterotopia, David Goodhart, Dani Rodrik, Jean-Luc Nancy, Jeremy Bentham, Michel Foucault, Joanne Tompkins Caryl Churchill can tell the future. Top Girls was a magnificent commentary on the 1980 s, written at the beginning, not the end, of the decade.
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Nadine Marshall
www.hamiltonhodell.co.uk Nadine Marshall Talent Representation Telephone Madeleine Dewhirst & Sian Smyth +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Television Title Role Director Production Company TIME Alicia Lewis Arnold BBC Studios SMALL AXE Jesse Steve McQueen BBC SITTING IN LIMBO Janet Stella Corradi Left Bank Pictures/BBC PLEBS Attica Mars Sam Leifer Rise Films/ITV2 THE END OF THE F***ING WORLD Bonnie's Mother Various Channel 4/Netﬂix THE VICTIM Simone Marshall Niall MacCormick STV/BBC 4STORIES: A MOTHER'S LOVE Josephine Anwar Boulifa Channel 4 World Productions/Sky SAVE ME Series 1 & 2 DS Shola O'Halloran Nick Murphy Atlantic Farren Blackburn/Jamie THE INNOCENTS Christine New Pictures/Netﬂix Donoughue LOADED Opposing Lawyer Ian Fitzgibbon Channel 4 DEATH IN PARADISE Series 6 Sabrina Martin Jermain Julien Red Planet/BBC NATIONAL TREASURE D.I. Patel Marc Munden Channel 4 NEW TRICKS Series 12 Alison Downing Sarah O'Gorman Wall To Wall/BBC VERA Series 5 Ellie Thorn Will Sinclair ITV WATERLOO ROAD Series 10 Steph Norton Various BBC CHASING SHADOWS Donna Davis Chris Menaul ITV OLD JACK'S BOAT Series 1, 2 & 3 Sam Spinnaker/Various Dominic Macdonald BBC THE SPA Vron Sandy Johnson Tiger Aspect/Sky Living THE GATES Melissa Sam Cadman Feelgood Fiction RANDOM Nominated for the Best Leading Actress Award, BAFTA Television Awards, 2012 Winner of the Best Single Drama Award, BAFTA Television Awards, 2012 Sister Debbie Tucker Green Hillbilly Films/C4 Winner of the Best
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'Good' Starring David Tennant to Launch Dominic Cooke
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Debbie Tucker Green and Dona Daley: Two Neo-Millennial Black British Women Playwrights*
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Universidade de Caxias do Sul: UCS Revistas debbie tucker green and Dona Daley: Two Neo-millennial Black British Women Playwrights* debbie tucker green e Dona Daley: duas dramaturgas britânicas negras do novo milênio Deirdre Osborne** Abstract In the new millennium where white men still dominate the theatrical terrain, the staging of Black British women’s drama remains at best, rare. debbie tucker green and Dona Daley distinctivelydramatize articulations of the experientially uncharacteristic in British theatre. They produce sustained experimentation with form, style and subject matter inasserting black experience as universal not marginal. Whilst Daley employs unqualified naturalism in her dramatization of the mundane intimacies that weave lives together, tucker green blitzes the comfort zones of theatrical realism through linguistic free-fall and taboo topics. Theyexemplify women dramatists’ articulations of sensibilities and perspectives as arising from positions within culture and theatre that are distinct from those of their male contemporaries. Keywords Black British, women playwrights, experimental writing, contemporary drama, feminism, African diaspora. Resumo No novo milênio, em que homens brancos ainda dominam o terreno teatral, o teatro de mulheres britânicas negras permanece, na melhor das hipóteses, raro. debbie tucker green e Dona Daley dramatizam distintivamente articulações do experimentalismo não-característico no teatro britânico. Elas produzem experimentações sustentadas em forma, estilo e assunto para exercer a experiência negra como universal, e não marginal. Enquanto Daley emprega um naturalismo não qualificado na sua dramatização das intimidades mundanas que nós vivemos juntos, tucker green ataca as zonas de conforto do realismo teatral através de linguística em queda-livre e tópicos tabus.
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Bloomsbury Digital Resources 2020
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Guide to Plays for Performance
Guide to Plays for Performance Welcome to our Guide to Plays for Performance! I hope this Guide will not only be a useful tool for you in helping to choose next season’s play, but also a valuable companion throughout your career in the theatre. The Guide will give you a good overview of our list with detailed information on our most- performed plays as well as new releases and acquisitions. A more comprehensive version of the Guide is available online, and you are welcome to print off any sheets that are of particular interest to you there. Towards the end of this guide you will find a detailed listing of all our plays for performance, including cast details. If you find a play there that you would like a closer look at, just let me know and I will be happy to send you an approval copy of the script. If you wish to receive our quarterly supplements, with information about the most recent acquisitions, you must let me have an email address (send to: [email protected]) so that I can add you to our electronic mailing list. Check before rehearsals May I remind you that it is essential that before rehearsals begin, you check availability with me, as inclusion in the Guide does not necessarily indicate that amateur rights have been released, and some plays may be withdrawn later on without notice. I hope you will find an exciting and inspiring play for a future production in this Guide and look forward to hearing from you.
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Film Stars Don't Die in Liverpool
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