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Images of Violence in Complicite Obrazy Przemocy W Complicite
Images of Violence in Complicite Tom 5/2017, ss. 53-60 ISSN 2353-1266 e-ISSN 2449-7983 DOI: 10.19251/sej/2017.5(4) www.sej.pwszplock.pl Tomasz Wiśniewski Uniwersytet Gdański Images of Violence in Complicite Obrazy przemocy w Complicite Abstract Abstrakt In British theatre of the last three W ciągu ostatnich trzech dekad decades, we observe a significant shift from można zaobserwować w brytyjskim teatrze the more verbal, playwright-focused model of odejście od modelu teatru opartego na słowie, theatre whose meanings are determined pri- którego znaczenia determinowane są przez marily by the literary concept of drama to the literacką koncepcję dramatu na rzecz teatru, one which exercises more profoundly artistic który korzysta w większym zakresie z auto- autonomy of theatre. Complicite is one of the nomii artystycznej teatru . Complicite to jedna leading theatre companies that are responsible z tych grup teatralnych, które stoją za tymi for this shift. In the performances of Complic- zmianami. W przedstawienich Complicite, ite, the theme of violence has been explored temat przemocy pojawia się regularnie i do frequently. The whole variety of theatre jej zaprezentowania wykorzystywany jest devices were employed in depicting images of cały wachlarz środków artystycznych. Arty- violence. The article discusses plays such as kuł omawia sztuki: Mnemonic, The Street of Mnemonic, The Street of Crocodiles, Measure Crocodiles, Measure for Measure, The Mas- for Measure and The Master and Margarita, ter and Margarita, A Disappearing Number, A Disappearing Number, Shun-kin and The Shun-kin, The Encounter i kilka innych. Encounter and mentions others. Słowa kluczowe: Complicite, Simon Keywords: Complicite, Simon McBurney, Mnemonic, The Encounter, prze- McBurney, Mnemonic, The Encounter, vio- moc, badania nad teatrem, komunikacja, lence, theatre studies, communication, semi- semiotyka otics 54 Tomasz Wiśniewski Tom 5/2017 1 . -
A (Very Personal) History of Barnet and District AC
A (very personal) history of Barnet and District AC In early 2017 the club magazine Editor wrote to me, saying: “I'd like there to be some things in the next issue relating to the club's 50 anniversary/history etc. Would you be able/willing to contribute something?” Without hesitation I said yes, and here it is. I have chosen to write three parallel intertwined stories. They are the main points in the development of the club in the early years, illustrated with some results and reports from those days from the relevant club magazines, and interspersed with some observations on my own short running career once I arrived on the scene (thankfully for you that was not until 1982!). There are thousands of results and reports, and I have tried to select items of interest and/or relevance. I have tried to not dwell on, or comment too often on, the ‘but things were different/better in them days’ aspect of athletics. I leave you to interpret the content as you wish. Considerable license has been taken in editing down mag reports to their core detail. STEVE CHILTON (with thanks to Brian Fowler and all the club magazine editors) 1 Early days Barnet and District AC was formed in 1967, after a merger of Hampstead Harriers with Barnet AC. Unfortunately, I have not been able to find copies of the club mags from the years before 1974, so the first 6 years are something of a mystery (I copied all Brian Strong’s club mags from 1973 onwards a while ago, at the time I was editor, as he was editor for many of the early years). -
Northern Ireland Seabird Report 2014
This is the second edition of the Northern Ireland Seabird Report, covering 2014. This report is the published outcome of the work of the Northern Ireland Northern Ireland Seabird Network – a network of volunteers, researchers and organisations – coordinated by the BTO Seabird Coordinator, and funded by NIEA. Seabird Report 2014 FRONT COVER IMAGES: EDMUND FELLOWES & JOHN W. PROUDLOCK British Trust for Ornithology Head Office: The Nunnery, Thetford Norfolk IP24 2PU Tel: +44 (0)1842 750050 Fax: +44 (0)1842 750030 www.bto.org Registered Charity No 216652 (England & Wales) SC039193 (Scotland) Registered Company No 357284 ISBN No 978-1-908581-50-1 Northern Ireland Seabird Report 2014 NI Seabird Steering Group Dave Allen (Allen & Mellon Environmental) Kendrew Colhoun (RSPB) Kerry Leonard (BTO) Neil McCulloch (NIEA) Andrew Upton (National Trust) Shane Wolsey (BTO) Report editors Kerry Leonard and Shane Wolsey This report is the published outcome of the work of the Northern Ireland Seabird Network – a network of volunteers, researchers and organisations – coordinated by the BTO Seabird Coordinator, and funded by NIEA. British Trust for Ornithology The Nunnery Thetford Norfolk IP24 2PU www.bto.org [email protected] +44 (0) 1842 750050 Registered Charity No.216652 (England & Wales) No.SC039193 (Scotland). Company Limited by Guarantee No. 357284 (England & Wales) February 2015 ©British Trust for Ornithology & Northern Ireland Environment Agency ISBN 978-1-908581-50-1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. -
Complicite's 'The Encounter' Edinburgh International Conference Center, Edinburgh International Festival; 480 Seats; £32 ($50) Top
REVUE DE PRESSE SIMON MCBURNEY The Encounter 08 – 12.09.2015 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... Theatre Expat In Switzerland? £50k+ Savings? Try A Free Review To Show You The Best Interest Rates! Theatre / What to See WHAT TO SEE Edinburgh: The Encounter, International Conference Centre, review: 'spellbinding' share THE ENCOUNTER IS ONE OF THE EARLY HITS OF THE EDINBURGH INTERNATIONAL FESTIVAL CREDIT: A. PHILLIPSON/LIVEPIX BB y DDoommiinniicc CCaavveennddiisshh THEATRE CRITIC 9 AUGUST 2015 • 2:08PM share 1 sur 6 27.08.15 12:08 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... You are alone in the dense, almost inaccessible Amazon region of Brazil, 400 miles from "civilisation". The aim is to take photographs of an elusive, barely contacted tribes-people called the Mayoruna – to show the world what they look like. And, amazingly, you strike gold. There, suddenly, some of them are. You follow them, snapping as you go – failing, unlike Hansel and Gretel, to leave a trail behind you. The story of the American photographer Loren McIntyre’s incredible 1969 encounter with “the cat people” (so named because of the whisker-like palm-spines adorning their lips and noses) is the stuff of a twisting, turning, thoroughly engrossing fairytale. And in re-telling it, in this brilliant solo show mounted by his much-travelled company Complicite, Simon McBurney adopts a high-tech bedside manner that places the audience in the role of wide-eyed – or should that be wide-eared? – children. -
Management of Greylag Geese on Rathlin Island – a Scoping Report
Management of Greylag Geese on Rathlin Island – a scoping report A report for the Causeway Coast and Glens Heritage Trust Allen and Mellon Environmental 21A Windsor Avenue, Belfast BT9 6EE Kerry Mackie 51 Loughanmore, Templepatrick BT51 2HN 31-Mar-17 Management of Greylag geese on Rathlin Island – a scoping report Report Number CCGHT/AM/17-1 Title Management of Greylag Geese on Rathlin Island – a scoping report Client Causeway Coast and Glens Heritage Trust Authors Clive Mellon with Dave Allen & Anna Hart Allen and Mellon Environmental Ltd 21A Windsor Avenue, Belfast BT9 6EE T: 02890 663153 Kerry Mackie 51 Loughanmore, Templepatrick, County Antrim BT51 2HN T: 07719 537275 NIEA licence details TSB/2/17 - License to take wild birds for scientific, research and educational purposes. CNB/2/16 License to take wild birds for ringing and tagging using cannon netting equipment. BTO permit 4475 Date report issued 31st March 2017 Any advice, opinions or recommendations expressed in this report are based upon due diligence including the authors’ interpretation of field conditions experienced at the time of survey. The authors do not accept any responsibility for material changes to field conditions which may have occurred subsequent to the survey date. 1 Management of Greylag geese on Rathlin Island – a scoping report Contents Section Page Acknowledgements 3 About the authors 3 Executive Summary 4 1. Introduction 6 1.1 Background 6 1.2 Project aims 6 2. Greylag Geese – an introduction 7 2.1 Description and taxonomy 7 2.2 The Greylag Goose in Britain and Ireland 8 2.3 Feral Greylags in Northern Ireland – a brief history 9 2.4 Ecology of Greylag Geese 10 2.5 Legal and conservation status in Ireland 11 3. -
Unclaimed Bank Balances
Unclaimed Bank Balances “Section 126 of the Banking Services Act requires the publication of the following data in a newspaper at least two (2) times over a one (1) year period.” This will give persons the opportunity to claim these monies. If these monies remain unclaimed at the end of the year, they will become a part of the revenues of the Jamaican Government. SAGICOR BANK BALANCE Name Last Transaction Date Account Number Balance Name Last Transaction Date Account Number Balance JMD JMD ALMA J BROWN 7-Feb-01 5500866545 32.86 ALMA M HENRY 31-Dec-97 5501145809 3,789.62 0150L LYNCH 13-Jun-86 5500040485 3,189.49 ALMAN ARMSTRONG 22-Nov-96 5500388252 34.27 A A R PSYCHOLOGICAL SERVICES CENTRE 30-Sep-97 5500073766 18,469.06 ALMANEITA PORTER 7-Nov-02 5500288665 439.42 A F FRANCIS 29-Sep-95 5500930588 23,312.81 ALMARIE HOOPER 19-Jan-98 5500472978 74.04 A H BUILDINGS JAMAICA LTD 30-Sep-93 5500137705 12,145.92 ALMENIA LEVY 27-Oct-93 5500966582 40,289.27 A LEONARD MOSES LTD 20-Nov-95 5500108993 531,889.69 ALMIRA SOARES 18-Feb-03 5501025951 12,013.42 A ROSE 13-Jun-86 5500921767 20,289.21 ALPHANSO C KENNEDY 8-Jul-02 5500622379 34,077.58 AARON H PARKE 27-Dec-02 5501088128 10,858.10 ALPHANSO LOVELACE 12-Dec-03 5500737354 69,295.14 ADA HAMILTON 30-Jan-83 5500001528 35,341.90 ALPHANSON TUCKER 10-Jan-96 5500969131 48,061.09 ADA THOMPSON 5-May-97 5500006511 9,815.70 ALPHANZO HAMILTON 12-Apr-01 5500166397 8,633.90 ADASSA DOWDEN SCHOLARSHIP 20-Jan-00 5500923328 299.66 ALPHONSO LEDGISTER 15-Feb-00 5500087945 58,725.08 ADASSA ELSON 28-Apr-99 5500071739 71.13 -
Programme for Cheek by Jowl's Production of the Changeling
What does a cheek suggest – and what a jowl? When the rough is close to the smooth, the harsh to the gentle, the provocative to the welcoming, this company’s very special flavour appears. Over the years, Declan and Nick have opened up bold and innovative ways of work and of working in Britain and across the world. They have proved again and again Working on A Family Affair in 1988 that theatre begins and ends with opposites that seem Nick Ormerod Declan Donnellan irreconcilable until they march Nick Ormerod is joint Artistic Director of Cheek by Jowl. Declan Donnellan is joint Artistic Director of Cheek by Jowl. cheek by jowl, side by side. He trained at Wimbledon School of Art and has designed all but one of Cheek by As Associate Director of the National Theatre, his productions include Fuente Ovejuna Peter Brook Jowl’s productions. Design work in Russia includes; The Winter’s Tale (Maly Theatre by Lope de Vega, Sweeney Todd by Stephen Sondheim, The Mandate by Nikolai Erdman, of St Petersburg), Boris Godunov, Twelfth Night and Three Sisters (with Cheek by Jowl’s and both parts of Angels in America by Tony Kushner. For the Royal Shakespeare Company sister company in Moscow formed by the Russian Theatre Confederation). In 2003 he has directed The School for Scandal, King Lear (as the first director of the RSC Academy) he designed his first ballet, Romeo and Juliet, for the Bolshoi Ballet, Moscow. and Great Expectations. He has directed Le Cid by Corneille in French, for the Avignon Festival, Falstaff by Verdi for the Salzburg Festival and Romeo and Juliet for the Bolshoi He has designed Falstaff (Salzburg Festival), The Rise and Fall of the City of Mahagonny Ballet, Moscow, becoming the first stage director to work with the Bolshoi Ballet since 1938. -
The Art of Cultural Exchange Translation and Transformation Between the UK and Brazil
The Art of Cultural Exchange Translation and Transformation between the UK and Brazil Edited by Paul Heritage Queen Mary University of London, UK Ilana Strozenberg Federal University of Rio de Janeiro (UFRJ), Brazil Curating and Interpreting Culture a project by in partnership with Funded by People’s Palace Projects is funded by Copyright © 2019 by the Authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Curating and Interpreting Culture Library of Congress Control Number: 2018967188 ISBN: 978-1-62273-438-2 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Authors in alphabetical order vii Foreword xiii Graham Sheffield Preface xv Martin Dowle Introduction xvii Paul Heritage Part 1. -
Full Listing of Sunday Night Shows from 1955 to 1974
VAL PARNELL PRESENTS SUNDAY NIGHT AT THE LONDON PALLADIUM 1 25-09-55 Tommy Trinder Gracie Fields, Gus Mitchell, The George Carden Dancers 2 2-10-55 Johnnie Ray, Richard Hearne, Alma Cogan no TVT in Westminster 3 9-10-55 - Norman Wisdom, Jerry Desmonde 4 16-10-55 Tommy Trinder Julie Andrews, Tommy Cooper, The Deep River Boys, The Amandis 5 23-10-55 Tommy Trinder Lena Horne, The Crew Cuts 6 30-10-55 Tommy Trinder Johnny Ray, The Beverley Sisters, Darvis and Julia 7 6-11-55 Tommy Trinder Ruby Murray, Jimmy Jewel and Ben Wariss, Terry-Thomas, Alma Cogan, Leslie Mitchell 8 13-11-55 - The Daily Mirror Disc Festival: Max Bygraves, Eddie Calvert, Alma Cogan, Ted Heath and his Music, Ruby Murray, Joan Regan, The Stargazers, Dickie Valentine, David Whitfield 80 minutes 9 20-11-55 Tommy Trinder Moiseyev Dance Company, Jerry Colonna, Hylda Baker, Channing Pollock 10 27-11-55 Tommy Trinder no guest cast credit 11 4-12-55 Tommy Trinder Dickie Valentine, Patachou 12 11-12-55 Tommy Trinder Bob Hope 13 18-12-55 - Cinderella: Max Bygraves, Richard Hearne, Adele Dixon, Barlett and Ross, Barbara Leigh, Zoe Gail 25-12-55 no programme 14 1-01-56 - Mother Goose: Max Bygraves, Richard Hearne, Hy Hazell, Harry Cranley 15 8-01-56 Tommy Trinder Markova 16 15-01-56 Tommy Trinder no guest cast credit 17 22-01-56 Tommy Trinder Harry Secombe 18 29-01-56 Tommy Trinder Norman Wisdom, Jerry Desmonde, Bob Bromley, The Arnaut Brothers 19 5-02-56 Tommy Trinder Joan Regan, Derek Joy, Morecambe and Wise, The Ganjou Brothers and Juanita, The Mathurins 20 12-02-56 ? no TVT in -
THEATRE in ENGLAND 2012-13 UNIVERSITY of ROCHESTER Mara Ahmed
THEATRE IN ENGLAND 2012-13 UNIVERSITY OF ROCHESTER Mara Ahmed The Master and Margarita Barbican Theatre 12/28/12 Based on Mikhail Bulgakov’s novel, this adaptation by Simon McBurney is as inventive and surprising as the book’s storyline. Satan disguised as Professor Woland visits Stalinist Russia in the 1930s. He and his violent retinue use their black magic and death prophesies to dispose of people and take over their apartments; most villainy and betrayal in the play is in fact motivated by the acquisition of apartment space. Bulgakov is satirizing the restriction of private space in Stalin’s Russia but buildings are also a metaphor for the structure of society as a whole. Rooms are demarcated by light beams, in the constantly changing set design, in order to emphasize relative boundaries and limits. The second part of the play focuses on Margarita and her lover, a writer who has just finished a novel about the complex relationship between Pontius Pilate (the Roman procurator of Judaea) and Yeshua ha-Nostri (Jesus, a wandering philosopher). Margarita calls him the Master on account of his brilliant literary chef d’oeuvre. She is devoted to him. However, the Master’s novel is ridiculed by the Soviet literati and after being denounced by a neighbor, he is taken into custody and ends up at a lunatic asylum. The parallels between his persecution and that of his principal character, Jesus, are brought into relief by constant shifts in time and place, between Moscow and Jerusalem. Margarita makes a bargain with Satan on the night of his Spring Ball, which she agrees to host, and succeeds in saving the Master. -
The Encounter
THE ENCOUNTER UNITED KINGDOM COMPLICITE / SIMON MCBURNEY INSPIRED BY THE BOOK AMAZON BEAMING BY PETRU POPESCU DIRECTED BY SIMON MCBURNEY PHOTOGRAPH: TONI WILKINSON FREE PROGRAMME WWW.AAF.CO.NZ / #AKLFEST FACEBOOK.COM/AKLFESTIVAL @AKLFESTIVAL @AKLFESTIVAL THE ENCOUNTER COMPLICITE/SIMON MCBURNEY ASB THEATRE, AOTEA CENTRE WEDNESDAY 15 - FRIDAY 17 MARCH 7.30PM SATURDAY 18 MARCH 1.30PM & 7.30PM SUNDAY 19 MARCH 2.30PM 1 HOUR 50 MINUTES NO INTERVAL POST SHOW TALK: THURSDAY 16 MARCH TOUCH TOUR: SUNDAY 19 MARCH, 1.00PM NAU MAI HAERE MAI KI TE AHUREI TOI O TĀMAKI MAKAURAU Welcome to the 2017 Auckland Arts Festival Great artists cause controversy, start revolutions and little by little change the world. Festivals like ours are a catalyst for change creating opportunities for artists to communicate with audiences and audiences to respond to artists’ work. Throughout the Festival you will find small threads that deal with our world today. We hope that the work in the Festival can make you think, laugh, scream a little and perhaps even cry. It is fantastic to have Complicite at our Festival. I have been trying to get them to New Zealand for almost 20 years – success at last – for my final festival. The Encounter is an extraordinary show. I have seen it three times and each time it blows me away. This is real theatre magic where storytelling and technology come together to talk about our world and what matters. Welcome to The Encounter and to the members of Complicite. The Festival’s CEO David Inns (my partner and collaborator of many years), our Board and staff, hope you have a fabulous Festival. -
Sinead Ni Mhurchadha Thesis Final Submitted Hard Bound
Developing consensus on what constitutes ‘success’ following upper limb loss rehabilitation A thesis presented to Dublin City University for the Degree of Doctor of Philosophy By Sinéad Eilís Ní Mhurchadha B.A., MSc. School of Nursing, Dublin City University Supervisors: Dr. Pamela Gallagher, Dublin City University Professor Malcolm MacLachlan, University of Dublin, Trinity College. March 2010 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ____________ (Candidate) ID No.: ___________ Date: _______ ii Acknowledgements I would like to express my deep and sincere gratitude to my supervisor, Dr. Pamela Gallagher. For her effective personal guidance, wisdom, understanding, encouragement and for giving masses of her time listening patiently to any ‘mini Ph.D crisis’ I underwent, and gently and effectively guiding me in the right direction. For everything in the last three years, my heartfelt thanks. Thank you to my co- supervisor Professor Malcolm Mac Lachlan, for his support and wealth of knowledge. A special thank you to Professor Stephen Wegener who has been an encyclopaedia of wisdom through several stages of my research and has given valued support to me over the past three years.