DOCSLIB.ORG

Adrian Osmond Alan Gilmour Alan Wilkins Alistair Rutherford Andrew Glasgow Andrew Tickell Ann Marie Di Mambro Anne Downie Anthon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adrian Osmond Alan Gilmour Alan Wilkins Alistair Rutherford Andrew Glasgow Andrew Tickell Ann Marie Di Mambro Anne Downie Anthon Adrian Osmond Alan Gilmour Alan Wilkins Alistair Rutherford Andrew Glasgow Andrew Tickell Ann Marie Di Mambro Anne Downie Anthony Neilson Calum Smith Lawrence Candice Edmunds Caroline Dunford Carolyn Wyllie Catherine Czerkawska Catherine Grosvenor Charlotte Allan Chris Balance Chris Deans Chris Dolan Chris Hannan Claire Wingfield Clare Duffy Clare H e m p h i l l Clunie Mackenzie Cormac Quinn D C Jackson Dave Smith Davey Anderson David Greig David Hutchison David Kirkwood David Leddy Debbie Jones Des Dillon Douglas Maxwell Eleanor April 2004 – March 2007 Review Stewart Eliza Langland Ella Wildridge Emily Munro Fergus Mitchell Fiona Connor George Gunn Gerry Byron Grace Barnes Grae Cleugh Hamish Gillies Iain F MacLeod Iain McClure Ian Low Isabel Wright Jacqueline Clark Jamie Havlin Jamie Harrison Jenni Fagan Jo Clifford John Harvey Karen Barclay Kathy McKean Kelli Bartholet Kenny McKenna Kevin MacNeil Kieran Lynn Lauren Jack Lesley Anne Brewster Lewis Hetherington Liam John Hurley Linda Cracknell Linda Ann McConnell Linda McLean Lis Lee Liz Lochhead Louise E Knowles Lynda Radley Lynn Smith Lynsey Murdoch Margaret Littlewood Mark Russell Martin Brocklebank Martin D Travers Martin McNaughton Meghan McAvoy Michael Cox Michael Heine Michael J Blyth Morna Burdon Nicola McCartney Oliver Emmanuel Pamela Carter Pauline Lynch Peter Arnott Peter Richmond Raman Mundair Riccardo Galgani Rob Evans Robyn Hunt Rona Munro Ronan O’Donnell Roxana Pope Vilk Sandy Nelson Selma Dimitrijevic Simon Macallum Skye Loneragan Stephen Greenhorn Steve King Stewart Playwrights’Ennis Studio, Scotland Tim Review April Primrose 2004 – March 2007 Tom Brogan Tom McGrath Viv Adam Wilma G Stark Yvonne Caddell Zinnie Harris Front cover: Some of the ever growing list of playwrights we have worked with. 2 Playwrights’ Studio, Scotland Review April 2004 – March 2007 Contents Playwrights’ Studio, Scotland Aims and Objectives..............................................................Page 2 Taking Stock ........................................................................................................................Page 3 Case Study Douglas Maxwell ..............................................................................................Page 4 Finding Playwrights ..............................................................................................................Page 6 Case Study Raman Mundair ................................................................................................Page 8 Progressing Playwrights .......................................................................................................Page 0 Case Study D C Jackson .....................................................................................................Page 2 Sustaining Playwrights .........................................................................................................Page 4 Case Study Robyn Hunt ......................................................................................................Page 6 Other Projects .....................................................................................................................Page 8 Case Study Kevin MacNeil ...................................................................................................Page 20 Case Study Wilma G Stark ..................................................................................................Page 22 Finance ...............................................................................................................................Page 24 Playwrights’ Studio, Scotland Review April 2004 – March 2007 Director Emeritus Tom McGrath Board of Directors April 2007 Linda McLean (Chair), Jessica Burns, Stephen Greenhorn, David Greig, Zinnie Harris, Dominic Hill, Philip Howard, Matthew Lee, Jonathan Meth and Denise Nesbitt. Creative Director Julie Ellen General Manager Claire Dow Aims and Objectives Delivering our mission to directly engage the people of Scotland with new playwriting, we will seek to – • Improve access to plays; • Identify new talent; • Increase number of new plays produced; Responding to our mission to raise the standard of plays for presentation to the public, we will – • Develop quality of new plays; • Develop skills and experience of playwrights; • Make best use of existing skills, experience and contacts of the sector. Adrian Osmond Alan Gilmour Alan Wilkins Alistair Rutherford Andrew Glasgow Andrew Tickell Ann Marie Di Mambro Anne Downie Anthony Neilson Calum Smith Lawrence Candice Edmunds Caroline Dunford Carolyn Wyllie Catherine Czerkawska Catherine Grosvenor Charlotte Allan Chris Balance Chris Deans Chris Dolan Chris Hannan Claire Wingfield Clare Duffy Clare Hemphill Clunie Mackenzie Cormac Quinn D C Jackson Dave Smith Davey Anderson David Greig David Hutchison David Kirkwood David Leddy Debbie Jones Des Dillon Douglas Maxwell Eleanor Stewart Eliza Langland Ella Wildridge Emily Munro Fergus Mitchell Fiona Connor George Gunn Gerry Byron Grace Barnes Grae Cleugh Hamish Gillies Iain F MacLeod Iain McClure Ian Low Isabel Wright Jacqueline Clark Jamie Havlin Jamie Harrison Jenni Fagan Jo Clifford John Harvey Karen Barclay Kathy McKean Kelli Bartholet Kenny McKenna Kevin MacNeil Kieran Lynn Lauren Jack Lesley Anne Brewster Lewis Hetherington Liam John Hurley Linda Cracknell Linda Ann McConnell Linda McLean Lis Lee Liz Lochhead Louise E Knowles Lynda Radley Lynn Smith Lynsey Murdoch Margaret Littlewood Mark Russell Martin Brocklebank Martin D Travers Martin McNaughton Meghan McAvoy Michael Cox Michael Heine Michael J Blyth Morna Burdon Nicola McCartney Oliver Emmanuel Pamela Carter Pauline Lynch Peter Arnott Peter Richmond Raman Mundair Riccardo Galgani Rob Evans Robyn Hunt Rona Munro Ronan O’Donnell Roxana Pope Vilk Sandy Nelson Selma Dimitrijevic Simon Macallum Skye Loneragan Stephen Greenhorn Steve King Stewart Ennis Tim Primrose Tom Brogan Tom McGrath Viv Adam Wilma G Stark Yvonne Caddell Zinnie Harris 2 Playwrights’ Studio, Scotland Review April 2004 – March 2007 At the end of three very busy inaugural years The Playwrights’ Studio has an office and an the Playwrights’ Studio has delivered a lot of adjoining Space for writers but is much more activity with many playwrights at varying levels. than a physical environment; it is in essence Output has been high and everyone involved the sum of those who work with us to achieve Taking has worked with great energy, passion and the best in playwriting. It is there for playwrights commitment to realise a long held vision for a who are dreaming of the plays they might write, national playwriting organisation for Scotland. writing the plays they hope will get produced or eagerly awaiting the response to plays that are We have from the start had a very clear sense in production. We do all we can for people at of purpose guided by our Aims and Objectives. Stock different levels and with varying ambitions within These essential tools made it possible (when limited resources; giving them all there were so many potential directions, the respect they deserve for their projects and partnerships to pursue) to select artistic endeavours. those which were of the highest value to our mission. Even so it is always wise to pause and What we are today is an acknowledgment take stock from time to time. Since February of all who have worked towards and for the 2007 the Playwrights’ Studio has been doing Playwrights’ Studio. Many are mentioned within just that; considering what we have done, who individual projects but it is important to thank we have done it with, what affect that has had Director Emeritus Tom McGrath, founding and what we should do in the future. Operations Manager Caroline Newall and also Steering Group and former Board Members This Review document is the part of that Peter Arnott, James Brining, Shawn Galbreath, process which captures the highlights of our Neil Murray and Tim Nunn; these people activities and illustrates through the Case were at the very beginning of the organisation Studies some of the ways in which we have and their contributions were invaluable. We worked with individual writers and what it meant are also grateful for Scottish Arts Council’s to them. We have tried to express some of the support and the work of Faith Liddell and the spirit of the Playwrights’ Studio and the qualities Traverse Theatre for enabling the initial idea for a of the many fine artists we have had the Playwrights’ Studio. pleasure of working beside, with the facts and figures that are an essential part of any I hope that what you find here is both interesting review document. and informative but most of all I hope that you enjoy hearing about the playwrights and their work as part of our celebration of the Playwrights’ Studio, Scotland’s achievements Adrian Osmond Alan Gilmour Alan Wilkins Alistair Rutherford Andrew Glasgow Andrew Tickell Ann Marie Di Mambro Anne Downie Anthony Neilson Calum Smith Lawrence Candice Edmunds Caroline Dunford Carolyn Wyllie Catherine Czerkawska Catherine Grosvenor Charlotte Allan Chris Balance Chris Deans Chris Dolan Chris Hannan Claire Wingfield Clare Duffy Clare Hemphill Clunie Mackenzie Cormac Quinn D C Jackson Dave Smith Davey Anderson David Greig David Hutchison David Kirkwood David Leddy Debbie Jones Des Dillon Douglas Maxwell Eleanor Stewart Eliza to date. Langland Ella Wildridge Emily Munro Fergus Mitchell Fiona Connor George Gunn Gerry Byron Grace Barnes Grae Cleugh Hamish Gillies Iain F MacLeod Iain McClure Ian Low Isabel Wright Jacqueline
Load more

Recommended publications
  • A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
    Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible.
    [Show full text]
  • A Study Guide
    A Study Guide Written by Sophie Watkiss Edited by Rosie Dalling Rehearsal photography by Marc Brenner Production photography by Johan Persson This programme has been made possible by the generous support of The Bay Foundation, Noel Coward Foundation and Universal Consolidated Group 1 Contents Section 1: Cast and Creative Team Section 2: A new version of a classic text The social and cultural positioning of Henrik Ibsen’s original play A DOLL’S HOUSE transposed in time Synopsis, Act 1 Section 3: Inside the rehearsal room The rehearsal process Rehearsing the final scene of Act One Stage 1: contextualising the scene and investigating the text Stage 2: playing the scene Conversations inside the rehearsal room, week 3. Toby Stephens – Thomas Maggie Wells – Annie Anton Lesser – Dr Rank Christopher Eccleston – Neil Kelman Tara Fitzgerald – Christine Lyle Section 4: Endnotes and bibliography 2 section 1 Cast and Creative Team Cast GILLIAN ANDERSON. NORA Trained: Goodman Theatre School. Theatre: includes The Sweetest Swing in Baseball (Royal Court), What the Night is For (Comedy), The Philanthropist (Connecticut), Absent Friends (New York). Film: includes X-Files: I Want to Believe, Boogie Woogie, How to Lose Friends & Alienate People, Straightheads, The Last King of Scotland, A Cock and Bull Story, The Mighty Celt, House of Mirth – BAFTA Award, Playing by Heart, The X-Files Movie, The Mighty. Television: includes Bleak House, X-Files – Emmy Award. CHRISTOPHER ECCLESTON. NEIL KELMAN Trained: Central School of Speech and Drama. Theatre: includes Electricity, Hamlet (WYP), Miss Julie (Haymarket), Waiting at the Water’s Edge (Bush), Encounters (NT Studio), Aide-Memoire (Royal Court), Abingdon Square (NT/Shared Experience), Bent (NT), Dona Rosita the Spinster, A Streetcar Named Desire (Bristol Old Vic), The Wonder (Gate).
    [Show full text]
  • ZINNIE HARRIS Playwright / Screenwriter/ Theatre Director
    ZINNIE HARRIS Playwright / Screenwriter/ Theatre Director In summer 2017, her new play MEET ME AT DAWN premieres at the Traverse Theatre, while her new adaptation of Ionesco’s RHINOCEROS and a revival of her trilogy THIS RESTLESS HOUSE open as part of the Edinburgh International Festival. THEATRE: 2016 THIS RESTLESS HOUSE Citizens Theatre, Glasgow Best New Play at the Critics’ Awards for Theatre in Scotland 2016 Shortlisted for Susan Smith Blackburn Prize 2017 2015 HOW TO HOLD YOUR BREATH Royal Court Theatre Winner of the Berwin Lee Award, 2015 2012 THE MESSAGE ON THE WATCH Tricycle Theatre, London (as part of The Bomb season) 2011 THE WHEEL National Theatre of Scotland Winner of a Fringe First Award, Joint Winner of 2012 Amnesty International Freedom of Expression Theatre Award, and short-listed for Susan Smith Blackburn Prize. 2010 THE PANEL Tricycle Theatre, London (as part of the Women, Power and Politics season) 2009 A DOLL’S HOUSE (adapt.) Donmar Warehouse, London 2009 THE GARDEN Traverse Theatre, Edinburgh 2008 FALL Traverse Theatre Edinburgh / RSC co-production 2006 MISS JULIE (adapt.) National Theatre of Scotland, Scottish Tour 2005 SOLSTICE RSC 2004 MIDWINTER RSC and Tour Winner of An Arts Foundation Fellowship Prize for Playwriting, short-listed for Susan Smith Blackburn Prize. 2001 NIGHTINGALE AND CHASE Royal Court Theatre 2000 /1 FURTHER THAN THE Traverse Theatre, Edinburgh; Tron Theatre, FURTHEST THING Glasgow; Royal National Theatre, London and Tricycle Theatre, London and British Council tour. Winner of the Peggy Ramsay Foundation Award 1999; Fringe First, 2000 and John Whiting Award 2000. Short-listed for Evening Standard Most Promising Playwright, and specially commended by Susan Smith Blackburn Prize.
    [Show full text]
  • Writing Figures of Political Resistance for the British Stage Vol1.Pdf
    Writing Figures of Political Resistance for the British Stage Volume One (of Two) Matthew John Midgley PhD University of York Theatre, Film and Television September 2015 Writing Figures of Resistance for the British Stage Abstract This thesis explores the process of writing figures of political resistance for the British stage prior to and during the neoliberal era (1980 to the present). The work of established political playwrights is examined in relation to the socio-political context in which it was produced, providing insights into the challenges playwrights have faced in creating characters who effectively resist the status quo. These challenges are contextualised by Britain’s imperial history and the UK’s ongoing participation in newer forms of imperialism, the pressures of neoliberalism on the arts, and widespread political disengagement. These insights inform reflexive analysis of my own playwriting. Chapter One provides an account of the changing strategies and dramaturgy of oppositional playwriting from 1956 to the present, considering the strengths of different approaches to creating figures of political resistance and my response to them. Three models of resistance are considered in Chapter Two: that of the individual, the collective, and documentary resistance. Each model provides a framework through which to analyse figures of resistance in plays and evaluate the strategies of established playwrights in negotiating creative challenges. These models are developed through subsequent chapters focussed upon the subjects tackled in my plays. Chapter Three looks at climate change and plays responding to it in reflecting upon my creative process in The Ends. Chapter Four explores resistance to the Iraq War, my own military experience and the challenge of writing autobiographically.
    [Show full text]
  • Europe at the Crossroads
    Europe at the Crossroads Zinnie Harris’s How to Hold Your Breath Janine HAUTHAL Vrije Universiteit Brussel1 “Where Were All the Plays About Brexit?”2: Europe and/in British Theatre When, on the morning of the 24th of June 2016, it turned out that the majority of the British had voted for ‘Brexit’ in the United Kingdom European Union membership referendum, theatre critic Dominic Cavendish wondered publicly on his twitter account why British theatre had failed to tackle this momentous decision proactively. However, as fellow critic Matt Trueman suggested in response: “We might not have seen Brexit: the Musical – and nor would we want to – but many playwrights have explored the social and political factors that fed into the result” (n. pag.). Indeed, since the 1990s, a number of British plays have been set in or concerned with Europe, and Eastern Europe in particular, as e.g. Caryl Churchill’s Mad Forest (1990), Tariq Ali and Howard Brenton’s Moscow Gold (1990), David Greig’s Europe (1994), Sarah Kane’s Blasted (1995), Timberlake Wertenbaker’s The Break of Day (1995) as well as David Edgar’s trilogy The Shape of the Table (1990), Pentecost (1994), and The Prisoner’s Dilemma (2001) demonstrate. The majority of these plays were premiered between 1990 and 1995, i.e. in the years after the fall of the Berlin Wall, the disintegration of the ‘Eastern bloc’ and the collapse of communism. They are therefore frequently referred to as ‘post-wall plays’.3 Depicting 1 The research for this article was financed by the Research Foundation – Flanders (FWO).
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Unlisted Character: On the Representation of War and Conflict on the Contemporary Stage Julia Boll PhD University of Edinburgh 2011 Abstract The focus of this dissertation is the theatrical representation of both the individual and war in a time of disintegrating national states and the dramatisation of destruction versus survival as the driving forces on stage. In a study on the future of empire it has been observed that instead of progressing into a peaceful future, the 21 st century has slipped back in time into the nightmare of perpetual and indeterminate state of warfare: ceasing to be the exceptional state, war has become 'the primary organising principle of society', thus echoing Giorgio Agamben's declaration that the state of exception has become the status quo.
    [Show full text]
  • 'Analysing Plays in the Twenty-First Century: a Critical Conversation
    1 ‘Analysing Plays in the Twenty-First Century: A Critical Conversation’ Centre for Contemporary British Theatre, Royal Holloway Friday 5 July 2019, 9.30am-5pm Room 154 (ground floor), Richard Hoggart Building, Goldsmith’s College 9.30-10am: Arrive and refreshments 10-10.30am: Welcome and Introduction: Lynette Goddard (Royal Holloway) and Chris Megson (Royal Holloway) 10.30-11.15am: Keynote 1: Marissia Fragkou (Canterbury Christ Church University) ‘Reading Plays for the Contemporary Moment: Precarity, Ecology and Strangeness’ In her fascinating short essay ‘EF’s visit to a Small Planet: Some Questions to Ask a Play’ (1994), Elinor Fuchs reads plays as small ecologies by comparing them to strange planets; in order to discover the world of the play including its inhabitants, Fuchs argues, we first need to ask questions about the habitat that surrounds them. Revisiting Fuchs’s ecological approach, this paper will explore the ecological dimensions of studying plays for the present moment against the backdrop of spiralling risk and uncertainty; I am particularly interested in the value of pedagogies of risk and precarity in the context of the current Higher Education landscape and their relevance for play analysis. To this end, I will be partly drawing on Ronald Barnett’s conceptualization of the ‘ecological university’. For Barnett, ‘the ecological university will draw students into a pedagogy of strangeness or of risk, for it is such pedagogies that are likely to extend students so that they may be able to meet the challenges, conceptual, ethical and technological that the twenty-first century will assuredly face them with’ (2017: 149).
    [Show full text]
  • Discover.Read.Study.Perform
    Discover.Read.Study.Perform. Samuel Adamson April De Angelis Alan Ayckbourn Peter Barnes — A complete digital library of — J.M Barrie Sebastian Barry Mike Bartlett Aphra Behn Alan Ben- nett Steven Berkoff BertoltTHE Brecht MOST Howard Brenton Edward Bond Dion BoucicaultSTUDIED, Georg Buchner PERFORMED Gregory Burke Lucy Caldwell Marina Carr Matt Charman& CRITICALLY Anton Chekhov Caryl Churchill Noël Coward Nick DearACCLAIMED Thomas Dekker John PLAYS Donnelly John Dryden David Eldridge George Farquhar— from the last Eduardo 2,500 years — De Filippo John Fletcher John Ford Brian Friel Peter Gill James Graham David Greig Katori Hall Christopher Hampton David Hare Zinnie Harris Tony Har- rison David Harrower Jonathan Harvey Henrik Ibsen Charlotte laUNCHING Keatley Thomas Kyd D. C. Jackson BenSPRING Jonson 2013 Rebecca Lenkie- wicz Neil LaBute Anders Lustgarten Christopher Marlowe John Marston Frank McGuinness Thomas Middleton D.C. Moore Tom Murphy Phyllis‘Drama NagyOnline blazes Anthony the trail for aNeilson new era of digital Peter theatre Nichols publishing.’ Joe Orton John Osborne Joe Penhall— dr chris MeGson, Luigi royaL hoLLoway, Pirandello universiTy of London Terry Pratchett Lucy To be kept informed about drama Online trials, subscription rates and Prebble Philip Ridleycontent, Willy register Russell at www.dramaonlinelibrary.com William Shakespeare Bernard Shaw Martin Sherman Christopher Shinn Sophocles Tom Stop- pard Mark Ravenhill Richard foLLow us onBrinsley TwiTTer aT @draMaonLineLiB Sheridan N. F. Simpson Nick Staff ord Polly Stenham Simona new ParTnershiPStephens froM: Shelagh Stephenson Au- gust Strindberg Theatre de Complicité Frank Wedekind Timberlake Wertenbaker Arnold Wesker Roy Williams Oscar Wilde Michael AVAILABLE IN EARLY 2013, Drama Online is the ultimate online resource for plays, critical analysis and performance for libraries, educators, students and researchers.
    [Show full text]
  • Calm Down Dear! Stellar Quines & Gender in Scottish Theatre
    CALM DOWN DEAR! STELLAR QUINES THEATRE COMPANY & GENDER IN SCOTTISH THEATRE Edinburgh April 2012 ACKNOWLEDGEMENTS We would like to thank all the organisations and individuals that have facilitated and participated in this project. In particular we would like to thank: consultants Lisa Kapur (for Phase One) and Jane Hogg (for Phase Two); the members of the project Advisory Group including Dominic Hill, Maggie Kinloch, Alexandra Mathie, Adrienne Scullion and Gerda Stevenson; all the individuals who took part in the in-depth interviews, both face-to-face and by phone between May and June 2011; Kate Wimpress (North Edinburgh Arts Centre), Jackie Wylie (The Arches), Julie Ellen (formerly Playwrights’ Studio Scotland) and Ros Maddison and Deborah Richardson-Webb (Royal Conservatoire of Scotland, formerly RSAMD) for their invaluable support in encouraging a wide range of people to attend the mini-groups in June 2011; all the organisations who circulated the online survey in July 2011 to their members, friends and associates, particularly the Federation of Scottish Theatre, Playwrights’ Studio, Scotland and Equity - Scotland; the 267 individuals who took part in the online survey; and finally the 30+ individuals who contributed to the SCOT_NITS online debate and kept the discussions so lively. Thank you to Creative Scotland for financial support to undertake this project under its former incarnation as the Scottish Arts Council (Equalities Department). CONTENTS PAGE 1. EXECUTIVE SUMMARY 4 Introduction Project Scope & Methodology Key Findings: Phase One and Phase Two 2. INTRODUCTION 8 3. PROJECT SCOPE & METHODOLOGY 9 Scope Methodology Limitations of the Research Definition 4. PHASE ONE: DESK-BASED RESEARCH 12 Context Report 5.
    [Show full text]
  • 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.
    [Show full text]
  • School of Drama 2015–2016
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Drama 2015–2016 School of Drama 2015–2016 BULLETIN OF YALE UNIVERSITY Series 111 Number 13 August 30, 2015 BULLETIN OF YALE UNIVERSITY Series 111 Number 13 August 30, 2015 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • New Work at the Rsc – Key Productions Over the Last 50 Years
    NEW WORK AT THE RSC – KEY PRODUCTIONS OVER THE LAST 50 YEARS More details are available on the RSC performance database 1961 ALDWYCH The Devils - John Whiting (Later tour) 1962 ALDWYCH Playing with Fire (Double Bill with The Collection) - Strindberg (translated by Michael Meyer) / The Collection (Double Bill with Playing with Fire) - Harold Pinter A Penny for a Song - John Whiting NEW ARTS THEATRE CLUB Everything in the Garden - Giles Cooper Nil Carborandum - Henry Livings The Lower Depths - Maxim Gorky (new version Derek Marlowe) Afore Night Come - David Rudkin The Empire Builders - Boris Vian (translated by Simon Watson Taylor) Infanticide in the House of Fred Ginger - Fred Watson TOUR Curtmantle - Christopher Fry 1963 ALDWYCH The Physicists Durrenmatt (translated by James Kirkup) The Representative Rolf Hochhuth (translated by Robert David McDonald) 1964 LAMDA THEATRE CLUB Theatre of Cruelty Season ALDWYCH The Rebel devised - Patrick Garland The Birthday Party - Harold Pinter (also directed by Harold Pinter) Afore Night Come - David Rudkin Expeditions One – An experimental season of short plays Victor - Roger Vitrac (translated by Lucienne Hill) Marat/Sade - Peter Weiss (adapted by Adrian Mitchell and translated by Geoffrey Skelton) Eh? - Henry Livings 1965 ALDWYCH Expeditions Two – A selection of plays on nation and Colonialism The Homecoming - Harold Pinter The Thwarting of Baron Bolligrew - Robert Bolt 1966 ALDWYCH Tango - Slawomir Mrozek (translated by Nicholas Bethell and adapted by Tom Stoppard) Days in the Trees - Marguerite
    [Show full text]