Jerwood Annual Reports 2014
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Teacher Resource Pack I, Malvolio
TEACHER RESOURCE PACK I, MALVOLIO WRITTEN & PERFORMED BY TIM CROUCH RESOURCES WRITTEN BY TIM CROUCH unicorntheatre.com timcrouchtheatre.co.uk I, MALVOLIO TEACHER RESOURCES INTRODUCTION Introduction by Tim Crouch I played the part of Malvolio in a production of Twelfth Night many years ago. Even though the audience laughed, for me, it didn’t feel like a comedy. He is a desperately unhappy man – a fortune spent on therapy would only scratch the surface of his troubles. He can’t smile, he can’t express his feelings; he is angry and repressed and deluded and intolerant, driven by hate and a warped sense of self-importance. His psychiatric problems seem curiously modern. Freud would have had a field day with him. So this troubled man is placed in a comedy of love and mistaken identity. Of course, his role in Twelfth Night would have meant something very different to an Elizabethan audience, but this is now – and his meaning has become complicated by our modern understanding of mental illness and madness. On stage in Twelfth Night, I found the audience’s laughter difficult to take. Malvolio suffers the thing we most dread – to be ridiculed when he is at his most vulnerable. He has no resolution, no happy ending, no sense of justice. His last words are about revenge and then he is gone. This, then, felt like the perfect place to start with his story. My play begins where Shakespeare’s play ends. We see Malvolio how he is at the end of Twelfth Night and, in the course of I, Malvolio, he repairs himself to the state we might have seen him in at the beginning. -
What Ever Happened to In-Yer-Face Theatre?
What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk. -
Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442
English 252: Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442-07-387-1551 61/63 Cartwright Gardens London, UK WC1H 9EL [*Optional events — seen by some] Wednesday December 28 *1:00 p.m. Beauties and Beasts. Retold by Carol Ann Duffy (Poet Laureate). Adapted by Tim Supple. Dir Melly Still. Design by Melly Still and Anna Fleischle. Lighting by Chris Davey. Composer and Music Director, Chris Davey. Sound design by Matt McKenzie. Cast: Justin Avoth, Michelle Bonnard, Jake Harders, Rhiannon Harper- Rafferty, Jack Tarlton, Jason Thorpe, Kelly Williams. Hampstead Theatre *7.30 p.m. Little Women: The Musical (2005). Dir. Nicola Samer. Musical Director Sarah Latto. Produced by Samuel Julyan. Book by Peter Layton. Music and Lyrics by Lionel Siegal. Design: Natalie Moggridge. Lighting: Mark Summers. Choreography Abigail Rosser. Music Arranger: Steve Edis. Dialect Coach: Maeve Diamond. Costume supervisor: Tori Jennings. Based on the book by Louisa May Alcott (1868). Cast: Charlotte Newton John (Jo March), Nicola Delaney (Marmee, Mrs. March), Claire Chambers (Meg), Laura Hope London (Beth), Caroline Rodgers (Amy), Anton Tweedale (Laurie [Teddy] Laurence), Liam Redican (Professor Bhaer), Glenn Lloyd (Seamus & Publisher’s Assistant), Jane Quinn (Miss Crocker), Myra Sands (Aunt March), Tom Feary-Campbell (John Brooke & Publisher). The Lost Theatre (Wandsworth, South London) Thursday December 29 *3:00 p.m. Ariel Dorfman. Death and the Maiden (1990). Dir. Peter McKintosh. Produced by Creative Management & Lyndi Adler. Cast: Thandie Newton (Paulina Salas), Tom Goodman-Hill (her husband Geraldo), Anthony Calf (the doctor who tortured her). [Dorfman is a Chilean playwright who writes about torture under General Pinochet and its aftermath. -
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. -
Encountering Shakespeare with Tim Crouch
“This is you”: Encountering Shakespeare with Tim Crouch by Sara Soncini By general consensus, Tim Crouch is one of the most innovative theatre-makers to have emerged on the UK scene during the last decade or so. His work has attracted considerable critical attention both nationally and internationally, giving rise to a sizeable and ever expanding body of academic analysis. Starting with his multi-award- winning production of An Oak Tree (2005), Crouch’s plays have toured extensively and they are regularly performed in translation in a wide range of European countries, where they have been invariably hailed as a token of the vigour and vibrancy of British new writing. The fact that roughly one half of Tim Crouch’s dramatic output to date is a reworking of Shakespearean sources is a telling indication of the continued centrality of his theatrical voice on the 21st-century stage. Yet while critics usually remark upon the continuities – in terms of objectives, methods and techniques – between Crouch’s Shakespeare project and the rest of his production (see e.g. Rebellato 2016), the specific cultural meaning of his adaptations as a form of creative engagement with Shakespeare has only been cursorily addressed in the available scholarship. This is arguably a consequence of the particular slant of the project and its perceived specialized nature. Now a cycle of five solo plays, Tim Crouch’s I, Shakespeare was initially instigated by a commission from the Brighton Festival to introduce Shakespeare to a young audience. The brief resulted in I, Caliban (2003), a retelling of Saggi/Ensayos/Essais/Essays Will forever young! Shakespeare & Contemporary Culture – 11/2017 22 The Tempest from the point of view of Shakespeare’s outcast for children aged 8+. -
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). -
Book of Abstracts
ABSTRACTS AND BIOGRAPHIES Thursday, October 11, 2018 9.45 PANEL: Across Languages Chair: Claire Hélie (Lille University) 1. Maggie Rose (Milan University) Importing new British plays to Italy. Rethinking the role of the theatre translator Over the last three decades I have worked as a co-translator and a cultural mediator between the UK and Italy, bringing plays by Alan Bennett, Edward Bond, Caryl Churchill, Claire Dowie, David Greig, Kwame Kwei-Armah, Hanif Kureishi, Liz Lochhead, Sabrina Mahfouz, Rani Moorthy, among others,to the Italian stage. Bearing in mind a complex web of Italo-British relations, I will discuss how my strategies of cultural mediation have evolved over the years as a response to significant changes in the two theatre systems. I will explore why the task of finding a publisher and a producer\director for some British authors has been more difficult than for others, the stage and critical success of certain dramatists in Italy more limited. I will look specifically at the Italian ‘journeys’ of the following writers: Caryl Churchill and my co-translation of Top Girls (1986) and A Mouthful of Birds, Edward Bond and my co-translation of The War Plays for the 2006 Winter Olympics in Turin and Alan Bennett and my co-translation of The History Boys at Teatro Elfo Pucini from 2011-3013, at Teatro Elfo Puccini and national tours. Maggie Rose teaches British Theatre Studies and Performance at the University of Milan and spends part of the year in the UK for her writing and research. She is a member of the Scottish Society of Playwrights and her plays have been performed in the UK and in Italy. -
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. -
David Greig's Theatre
THE “POLETHICS” OF THE MEDIATED/TIZED SPECTATOR IN THE GLOBAL-TECHNOLOGIZED AGE: DAVID GREIG’S THEATRE Verónica Rodríguez Universidad de Barcelona Abstract: Contemporary Scottish playwright David Greig’s dramaturgy has been concerned with the massive changes wrought across the world by neoliberal globalization in the last two decades. A political triple turn comprising ethics, the media and the spectator, and a shift between the notion “‘mediatized’ reiterative ‘expectator’” to “mediated performing spectator” within the “polethic” frame of ‘relationality’ in Greig’s works are argued in this article. It is further argued that the plays examined (Damascus, The American Pilot, Brewers Fayre and Fragile) use productive strategies like diffusion, reversibility and interchangeability, which foreground the asymmetries of the global/technologized age “polethically” mediating the global performing spectator. Key Words: Globalization, David Greig, Media, Spectator, Ethics, Politics. Recibido: 18/07/2012 Aceptado: 05/09/2012 TRIPLE TURN: ETHICS, MEDIA & SPECTATORSHIP IN THE GLOBAL-TECHNOLOGIZED AGE In his short review of Michael Kustov’s Theatre@risk, David Greig states that “[t]he thrust of Kustow’s argument is that in a corporate, mediated, screened world the last public space – public in the true sense – is the theatre” (Glasgow Sunday Herald)1 adding that he shares “his passion and confidence that theatre is the necessary art form of the century” (ibid.). Greig’s theatre emerges as a creative response in this milieu by raising questions around the role of ethics, the media and spectators in the context of the global-technologized age when the idea of the nation is being 1 This review appears at the beginning of the 2000’s Methuen edition of Kustov’s Theare@risk. -
Laughing out Young: Laughter in Evan Placey's Girls Like That And
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 19 | 2019 Rethinking Laughter in Contemporary Anglophone Theatre Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016) Claire Hélie Electronic version URL: http://journals.openedition.org/miranda/20064 DOI: 10.4000/miranda.20064 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Printed version Date of publication: 7 October 2019 Electronic reference Claire Hélie, “Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016)”, Miranda [Online], 19 | 2019, Online since 09 October 2019, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/20064 ; DOI: https://doi.org/10.4000/ miranda.20064 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays... 1 Laughing Out Young: Laughter in Evan Placey’s Girls Like That and Other Plays for Teenagers (2016) Claire Hélie 1 Evan Placey1 is a Canadian-British playwright who writes for young audiences; but unlike playwrights such as Edward Bond, Dennis Kelly or Tim Crouch, he writes for young audiences only. Some of his plays target young children, like WiLd! (2016), the monologue of an 8-year-old boy with ADHD (Attention Deficit Hyperactivity Disorder), other young adults, like Consensual (2015), which explores the grey area between rape and consent. His favourite audience remain teenagers and four of the plays he wrote for them were collected in Girls Like That and Other Plays for Teenagers in 2016. -
Programs to Our Community
We l c o m e t o Glorious greetings to you all! What a pair of pearls The Old Globe has in store for us this fall, as we kick off It’s an exciting time at The Old Globe. The our newly reconfigured Season 2003-04! 2003-04 season is beginning in the Old Globe Ahoy to the gifted Stan Theatre and the Cassius Carter Centre Stage, Wojewodski, who returns to us after while the final production of our triumphant serving as Dean of the Yale School of summer season plays the Lowell Davies Festival Drama and Artistic Director of the Yale Theatre. This summer San Diego theatregoers Repertory Theater, with his rousing pro- were treated to spectacular performances by duction of Tom Stoppard’s Rough Crossing. The celebrated André Globe artists to rave reviews. You may have seen Previn provides a few witty tunes for this art deco transatlantic the exceptional notice and rare west coast cruise which flounders in storms on the high seas as two play- review The New York Times gave our production of Julius Caesar. The wrights race against time to find an ending to their new musical, 2003-04 season is sure to continue The Old Globe tradition of theatri- The Cruise of the Dodo! Hilarious complications ensue as they try cal excellence beginning with Tom Stoppard’s hilarious Rough Crossing to mollify their fragile and jealous composer, while navigating the and the Olivier Award-winning Blue/Orange. treacherous romantic currents of their lead actors and an eager Of course, before we know it, the holiday season will be upon us, but hopeless ship’s steward. -
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.