Reviewer Response to Pinter's the Caretaker
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The Caretaker: Ambiguity from Page to Stage
Volume 2 Issue 4 INTERNATIONAL JOURNAL OF HUMANITIES AND March 2016 CULTURAL STUDIES ISSN 2356-5926 The Caretaker: Ambiguity from page to stage Mariem Souissi Faculty of Arts and Humanities University of Sousse, Tunisia [email protected] Abstract This paper will rivet on the specific techniques used by Clive Donner, the director of The Caretaker movie to underline the ambiguity on the screen stage. It is by analyzing the mise-en scene that we begin to see what are the meanings intended by the director. In other words, analyzing the camera movements, the zooming in and the zooming out , paying attention to the style of actors ‘performance and how objects are placed in the scene would highlight the artistically elusive characteristics of the movie. The editing within the film and the spectators ‘receptions are also very important to grasp the meanings of the work. Keywords: The Caretaker, Mise-en Scene, ambiguity, Filmic techniques, Performance. http://www.ijhcs.com/index.php/ijhcs/index Page 1084 Volume 2 Issue 4 INTERNATIONAL JOURNAL OF HUMANITIES AND March 2016 CULTURAL STUDIES ISSN 2356-5926 It is noteworthy to mention that in staging a filmic scene, any minor detail becomes meaningful as soon as it is captured by the camera, which is not the case in stage theatre. Film Studies assert that in order to study a film and deconstruct its meaning, we should pay attention to its mise en scene and examine how the film is constructed and shaped (Nelmes 14). In his book Introduction to Film Studies: Critical Approaches, Richard Dyer defines Film Studies as an academic field of study that approaches films theoretically, historically and critically. -
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Celebrates Its First Birthday at the Duchess Theatre with Booking Period Extended to September 2016
Press Release: 8 September 2015 CELEBRATES ITS FIRST BIRTHDAY AT THE DUCHESS THEATRE WITH BOOKING PERIOD EXTENDED TO SEPTEMBER 2016 THE ORIGINAL CAST ARE BACK IN THE WEST END WITH A SEASONAL RUN OF PETER PAN GOES WRONG AT THE APOLLO THEATRE The Play That Goes Wrong, the Olivier Award-winning box office hit, celebrates its first, triumphant year in the West End, and as a new booking period opens with tickets going on sale until 11 September 2016, the show's phenomenal popularity with audiences looks set to continue. For a limited run over the festive season at the Apollo Theatre, the original cast of The Play That Goes Wrong will bring their trademark comic mayhem to the J.M. Barrie classic and timeless favourite, Peter Pan. In Peter Pan Goes Wrong, the members of The Cornley Polytechnic Drama Society once again battle against technical hitches, flying mishaps and cast disputes on their way to Neverland with hilarious and disastrous results. Awarded the 2014 Whatsonstage.com Best New Comedy and the 2015 Olivier Award for Best New Comedy, The Play That Goes Wrong continues to thrive and it is a remarkable rags-to-riches story. The production's unparalleled trajectory of success began in 2013, when it opened as a one-act show at the Old Red Lion in London with only four paying members of the public at the first performance. This was followed by a transfer to the Trafalgar Studios, where the show's unique potential was spotted by producers Kenny Wax and Stage Presence, and subsequently to the Duchess Theatre. -
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. -
Christopher York SERENA MANTEGHI Build a Rocket Was Christopher’S Debut Serena Manteghi Is an Established Play
Stephen Joseph Theatre and Tara Finney Productions present Running time: 75 minutes (no interval) | Age guidance: 14+ (Contains some strong language and adult themes) Tell us what you thought: @thesjt | @tara_finney | #BuildARocket Christopher York SERENA MANTEGHI Build a Rocket was Christopher’s debut Serena Manteghi is an established play. After winning HighTide’s First theatre practitioner and performer, Commissions Award, the text was working extensively in new writing, developed in conjunction with HighTide, devising and physical storytelling. She is Women at RADA and the SJT. It debuted the recipient of the following awards; at the SJT in 2018, and subsequently BankSA ‘Best Theatre’ Award for won The Holden Street Award at The Eurydice Edinburgh Festival, the Adelaide Fringe Best Theatre Weekly , The Sunday Mail’s ‘Best Female Award and was named as The Sunday Mail’s Best Female Solo Performance’ for Build A Rocket, ‘Honourable Mention’ Solo Show. by Critics Circle Award for Build A Rocket and she was shortlisted for the Norman Beaton Fellowship Award in Christopher’s adaptation of The Pit and the Pendulum also 2016. premiered in 2018, set in the modern day Middle East, it scrutinised the attire laws that oppress women in those Her theatre credits include; Hamlet (Shakespeare’s Rose areas. It opened in Oxford’s Bodleian Libraries’ historical Theatre), Salty Irina (Ovalhouse), Eurydice (Holden Street Convocation House before transferring to The Omnibus in Theatres, Adelaide), Build A Rocket (Stephen Joseph Theatre/ London. Various), The Terrible Infants (Wiltons Music Hall), The Rise and His new play 212 is an Arts Council England’s supported Fall of Little Voice (Stephen Joseph Theatre), Echoes (Brits Off project. -
Women in Theatre 2006 Survey
WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female). -
Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s -
WHAT the WOMEN DID Theatre Includes Lizzie Siddal (Arcola Theatre), Virgin (Watford Palace), Jack Off the Beanstalk (Above the Stag)
Southwark Playhouse Cafe/Bar FORGOTTEN VOICES FROM THE GREAT WAR: NOW OPEN ALL DAY WHAT THE Mon - Fri 9am - Midnight WOMEN DID Sat 12.30pm - Midnight A TRIPLE BILL OF PLAYS ABOUT THE FIRST WORLD WAR A fantastic menu of simple hot food A wide selection of Hot & Cold drinks Free Wi-Fi A friendly and welcoming atmosphere Experienced baristas Fairtrade, seasonal, locally sourced Great for meetings! For bookings call our Front of House Manager, Nathan, on 020 7407 0234 Enjoy a hot drink on us! Bring this voucher to the cafe between 9am-5pm Mon-Fri for a free hot drink of your choice.* * One voucher per person. Photocopies not accepted. Valid until Friday 14th March 2014 LINDA HAPGOOD | StageAs a protestManager against the US/ inShiverman 2005, which (Theatre503), showed Murder the incomradeship The Cathedral (Oxfordand Playhouse). Her next production is Trained at Royal CentralUK Schoolinvasion of Speech of Iraq and in Drama.2003, For Two’s Company: London Wall humour,Martine (Finborough fading to Theatre). disillusion, Emily of was a theplatoon winner of the Best Costume Designer award at the (Finborough and St James Theatres, and winner of the Stage Management Association Award 2011 OffWestEnd Awards. 2013). Other Theatre Two’sincludes Company Handbagged quickly (Tricycle Theatre), Khadija is 18 (Finborough Theatre), facing misery and death in the trenches. DUNCAN COOMBE | Lighting Designer Tosca (New Diorama),mounted Less Than a Kind production (Jermyn Streetof Miles and national tour), Play it Again Sam TheLighting last Designs rediscovery for Two’s was Company: Velona London Pilcher’s Wall (Finborough and St James Theatres), Ex (Soho (Upstairs at the Gatehouse), Bewitched, Bothered and Bewildered, The Art of Concealment, Mother Malleson’s Black ‘Ell at Soho Theatre), My Real War 1914-? (Trafalgar Studios and national tour). -
Film Advertising Cards and Programs Collection Inventory
Film Advertising Cards and Programs Collection Inventory 1 box; 6 envelopes; 252 items; .125 metres Env. #1: Advertising Cards – 62 items 1. Roscoe Arbuckle (Fatty) / Temple Theatre, week of April 28, 1919 2. John Barrymore / Dundas Playhouse, week of July 21, 1919 3. Enid Bennet / Dundas Playhouse, week of May 12, 1919 4. Gladys Brockwell / Adanac Theatre, week of March 3, 1919 5. Billy Burke / Amusu Theatre, week of April 7, 1919 6. June Caprice / Adanac Theatre, April 14, 1919 7. Harry Carey / Duchess Theatre, week of May 12, 1919 8. Mrs. Vernon Castle (Irene) / Adanac Theatre, week of May 26, 1919 9. Barbara Castleton / Duchess Theatre, week of April 7, 1919 10. Lina Cavalieri / Playhouse Theatre, week of April 21, 1919 11. Charlie Chaplin / Dundas Playhouse, week of April 28, 1919 12. Ethel Clayton / Brighton & Parkview Theatres, wk of April 28, 1919 13. Dorothy Dalton / Dundas Playhouse, week of April 7, 1919 Dorothy Dalton / Queen’s Royal Theatre, week of March 4, 1918 14. Priscilla Dean / Brighton & Parkview Theatres, wk of April 28, 1919 15. June Elvidge / Duchess Theatre, week of March 24, 1919 16. Madge Evans / Dundas Playhouse, week of September 15, 1919 17. Douglas Fairbanks / Brighton Theatre, week of March 10, 1919 18. Dustin Farnum / Temple Theatre, week of April 21, 1919 19. William Farnum / Brighton & Parkview Theatres, week of April 7, 1919 Film Advertising Cards and Programs Collection Inventory Page 2 of 18 20. Geraldine Farrar / Brighton & Parkview Theatres, wk of May 26, 1919 Geraldine Farrar / Queen’s Royal Theatre, week of March 18, 1919 21. -
KHADIJA IS 18 by Shamser Sinha
Press Information The Finborough Theatre is now fully heated and air conditioned Winter 2012 Season | October to December 2012 Esther Nissard for B29 Productions in association with Neil McPherson for the Finborough Theatre presents A world premiere by a new playwright KHADIJA IS 18 by Shamser Sinha. Directed by Tim Stark. Designed by Fly Davis. Lighting by Dani Bish. Costumes by Sarah Dicks. Sound by Mark Dunne. Cast: Victor Alli. Damson Idris. Sioned Jones. Aysha Kala. Katherine Rose Morley. The world premiere of Khadija is 18, the first play by new British Asian dramatist Shamser Sinha, will open at the Finborough Theatre on Tuesday, 30 October 2012 (Press Night: Thursday, 1 November 2012) for a strictly limited four week run. Khadija is 18 is a story from the frontline of multicultural Britain, and explores the lives of two teenage refugee girls in London's East End. Liza needs Khadija and Khadija needs Liza. When Khadija links up with Ade, things begin to unravel. Does Khadija care about Liza anymore? And what is Ade doin’ having sex with a ref girl? All the while the immigration clock is ticking down. Giving voice to the dispossessed and capturing the hopes and heartbreak of our young, Shamser Sinha is an exciting new voice in playwriting. Originally discovered via ANGLE Theatre's 'Call for Plays' campaign in East London, Khadija is 18 was among 100 submissions they received from new writers. 50 of these plays were from first time writers, with 40 playwrights coming from a BAME background, and a remarkable 4 entry’s from non-English speakers. -
Ebook Download Whats New, Pussycat?
WHATS NEW, PUSSYCAT? PDF, EPUB, EBOOK Alexandra Potter | 320 pages | 01 Jun 2014 | Hodder & Stoughton General Division | 9780340919606 | English | London, United Kingdom Carole Baskin's "What's New Pussycat" 'DWTS' Performance Was Filled With Cat References As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. Title: What's New Pussycat His psychoanalyst Dr. Fassbender can't help him either since he's busy courting one of his patients who in turn longs for Michael. A catastrophe appears on the horizon as all the characters check into the Chateau Chantelle hotel for the weekend not knowing of each other's presence. Written by Robert Zeithammel. Some have "analyzed" this movie with the heavy, combat-boot tone of the cerebral and moral second-millennium spirit. They say it belongs to the past, the bad bad bad 60s, full of irresponsibility and partying, sexual license and depravity. Well I say HA! Forget all those mostly young! It is colorful, full of joy and beautiful people, unpretentious and charming. And in the end, the guy gets the girl and they get married. As a young boomer, watching this is like slipping into Hush Puppies. You may say what you want about or against the "guilty" innocence of that era, but it sure was comfortable! I miss those times. And a note for the moderns: we were not that innocent, we knew that some of this was dangerous ground Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. -
Download a Program
Headlong Theatre, Birmingham Repertory Theatre, Liverpool Everyman and Playhouse, Lyric Hammersmith and West Yorkshire Playhouse present by Simon Schama Adapted for the stage by Caryl Phillips First performed on 14 September 2007 at Birmingham Repertory Theatre. Headlong Theatre, Birmingham Repertory Theatre, Liverpool Everyman and Playhouse, Lyric Hammersmith and West Yorkshire Playhouse present ROUGH CROSSINGS by Simon Schama Adapted for the stage by Caryl Phillips Isaac Peter Bankole Eliza Sharp Miranda Colchester David George Peter De Jersey Johnson / Sergeant Davy / American Officer Ian Drysdale Henry De Mane Dave Fishley Thomas Clarkson Andy Frame William Sharp / Redcoat / Lieutenant Rob Hastie Phyllis George Dawn Hope John Clarkson Ed Hughes Captain / Cornwallis / Falconbridge Mark Jax Ship’s Boy / Anna Maria Falconbridge Jessica Lloyd Granville Sharp Michael Matus Sally Peters Wunmi Mosaku James Somerset Ben Okafor Thomas Peters Patrick Robinson Buck Slave / Sierra Leone Settler Daniel Williams All other parts played by members of the company. Director Rupert Goold Designer Laura Hopkins Lighting Designer Paul Pyant Composer & Sound Designer Adam Cork Video & Projection Design Lorna Heavey Movement Director Liz Ranken Casting Consultant Kirsty Kinnear Assistant Director Vik Sivalingam Assistant Designer Simon Kenny Production Manager Spencer New Company Stage Manager Julia Reid Deputy Stage Manager Lucy McMahon Assistant Stage Manager Sarah Jane Davies Costume Supervisor Hilary Lewis Re-Lighter & Production Electrician Tom Snell