DOCSLIB.ORG

Adrian Schiller

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Adrian Schiller Photo: Stuart McClymont Film 2016, Film, The Man Who Winds His Watch, Ashes In The Snow, Tauras Films, Marius A Markevicius 2016, Film, Deputy Director, A Cure For Wellness, Twentieth Century Fox, Gore Verbinski 2015, Film, Monsieur D'Arque, Beauty and the Beast, Disney, Bill Condon 2015, Feature Film, Rasmussen, The Danish Girl, Pretty Pictures, Tom Hooper 2015, Film, Mr Elliott, The Mercy, Blueprint Pictures, James Marsh 2014, Feature Film, Lloyd George, Suffragette, Ruby Films, Sarah Gavron 2014, Feature Film, Dr Trevellian, Remainder, Tigerlily Films, Omer fast 2014, Feature Film, Dr Clive, Frankenstein, 20th Century Fox, Paul McGuigan 2014, Feature Film, Pierce, Residue; Paramentals Rising, Matador, Alex Garcia 2014, Feature Film, Caiaphas, Son of God, 20th Century Fox & Lightworkers Media, Christopher Spencer 2013, Feature Film, Jean Risse, A Little Chaos, Potboiler Productions, Alan Rickman 2011, Feature Film, Lord Willoughby, The Hollow Crown - Richard II, BBC/Neal St, Rupert Goold 2009, Feature Film, Registrar, Brighton Rock, Rowan Joffe 2008, Feature Film, Mr Thompson, Brightstar, Brightstar, Jane Campion 2008, Feature Film, Forger, Wild Target, Magic Light Pictures, Johnathan Lynn 2007, Feature Film, Goebbels, Good, Good Productions, Vicente Amorim 2005, Feature Film, Shimaiah, The Ten Commandments, Hallmark, Robert Dornhelm 1999, Feature Film, Paul Stewart, RKO-281, Labrador Films/Walt Disney, Ben Ross Television 2017, Television, Penge, Victoria (Series 2), Mammoth Screen/ITV, Lisa James Larsson 2016, Television, Lucien, Man In An Orange Shirt, Kudos/BBC, Michael Samuels 2015, Television, Penge, Victoria, Mammoth Screen/ITV, Tom Vaughn 2015, Television, Peter Grace, Undercover, BBC One, James Hawes 2014, Television, Sam, Spotless, Canal+, Luke Watson 2014, Television, Sam, Spotless, Tandem Communications, Luke Watson 2014, Television, Tim, Quiet Desperation, Hat-trick, Paul Schlesinger 2013, Television, Charles Highbank, Endeavour 'SWAY', ITV/Mammoth Screen, Andy Wilson 2013, Television, Dr Price, Talking to the Dead, Sky Living, China Moo-Young 2012, Television, Colin Jenner, Holby City, BBC, Sean Glynn 2012, Television, Caiaphas, The Bible, Lightworkers media, Tony Mitchell, Christopher Spencer 2010, Television, Uncle, Dr Who, BBC 2010, Television, Noah Zeitler, Silk, BBC, David Evans 2010, Television, Guiseppe Bini, Aurelio Zen: Vendetta, Left Bank/BBC, John Alexander 2010, Television, John Akers, New Tricks, Wall to Wall/BBC, Phil John 2010, Television, Guard, Coming up: Dip, Channel 4, Lisa Gormick 2009, Television, Hennesssy, Being Human, Touchpaper Television for BBC 3, Colin Teague/Charles Martin 2009, Television, Mr Gryle, Going Postal, Sky TV, Jon Jones 2009, Television, Nick McCann, The Bill, Fremantle Media 2008, Television, Solicitor, Ashes to Ashes, Kudos, Ben Bolt 2008, Television, John Thurloe, The Devil's Whore, Company Pictures/Channel 4, Marc Munden 2007, Television, Transvestite Judge, The IT Crowd, Channel 4, Graham Linehan 2007, Television, Dr Lumb, Suburban Shootout, Gordon Anderson Adrian Schiller 1/3 2007, Television, Peter Colvin, Silent Witness 'Apolcalypse', BBC, Maurice Phillips 2005, Television, Prisoner, Nostradamus, Brynn Higgins 2003, Television, Richard III/Launce/Will Kemp, In Search of Shakespeare, BBC/Maya Vision, Michael Woods 2002, Television, Dominic Collins, Judge John Deed, BBC Television 2001, Television, Fields of Gold, BBC Television, Bill Anderson 2001, Television, Mr Lennox, My Family, BBC Television, Dewi Humphreys 2001, Television, Lover, Surrealismo, BBC4, Richard Curson Smith 1999, Television, Christian, The Kidnap, Stone City Films, Bryn Higgins 1996, Television, Travis, Bugs, Carnival Films (BBC), Andrew Grieve 1995, Television, Colin Trafford, Silent Witness, BBC Television, Noella Smith 1995, Television, Michael Downes, The Bill, Thames Television, A. J. Quinn 1995, Television, Tony, The Chemistry Lesson (Ghosts Series), BBC Television, Terry Johnson 1993, Television, London Doctor, Wide-Eyed & Legless, BBC/Island Films, Richard Loncraine 1992, Television, Gold, Prime Suspect II, Granada Television, John Strickland 1992, Television, Sam Saturday, Channel 4, Alvin Rakoff Stage 2014, Stage, Reverend John Hale, The Crucible, Old Vic, Yael Farber 2013, Stage, Salvador Dali, Hysteria, Hampstead Theatre, Terry Johnson 2013, Stage, Wabschke, The Captain of Kopenick, National Theatre, Adrian Noble 2012, Stage, Kulygin, The Three Sisters, Young Vic, Benedict Andrews 2011, Stage, Charles Audelle, The Veil, National Theatre, Conor Mcpherson 2011, Stage, The Psychiatrist, Our Private Lives, Royal Court Theatre, Lyndsey Turner 2010, Stage, Alexander, Every Good Boy Deserves Favour, National Theatre, Felix Barrett, Tom Morris 2009, Stage, Willis, Twisted, The Sticking Place/Southwark Playhouse, Hannah Eidenow 2009, Stage, Ian Dury, HIT ME! the Life and Rhymes of Ian Dury, ABFCAP, Chris Langham 2008, Stage, Jacob Marley, A Christmas Carol, Rose Theatre Kingston, Steven Unwin 2008, Stage, Company, The Hour we knew we nothing of eachother, National Theatre, James Macdonald 2007, Stage, DeFlores, The Changeling, English Touring Theatre, Steve Unwin 2007, Stage, Grumio, The Taming of the Shrew, Wilton's Music Hall, Nick Hutchinson 2006, Stage, Tartuffe, Tartuffe, Watermill, Jonathan Munby 2005, Stage, Cassius, Julius Caesar, RSC & Lyric Hammersmith, David Farr 2005, Stage, Panthino, Two Gentlemen of Verona, RSC, Fiona Buffini 2004, Stage, Leicester, Mary Stuart, Nuffield Theatre, Patrick Sandford 2003, Stage, Mr Jaggers, Great Expectations, Bristol Old Vic, Gordon Anderson 2003, Stage, Charles Bovary, Madame Bovary, Shared Experience, Polly Teale 2002, Stage, Malcolm, Macbeth, ATG (Sonia Friedman), Ed Hall 2001, Stage, Berowne, Love's Labour's Lost, Regents Park, Rachel Kavanaugh 2000, Stage, Touchstone, As You Like It, Royal Shakespeare Company, Gregory Doran 2000, Stage, Hamlet, Hamlet, RSC Fringe, Samuel West 2000, Stage, Fluellen, Henry V, Royal Shakespeare Company, Ed Hall 2000, Stage, Mercutio, Romeo And Juliet, Royal Shakespeare Company, Michael Boyd 1999, Stage, Seward, Bats, Manchester Royal Exchange, Braham Murray 1998, Stage, Lucio, Measure for Measure, Royal Shakespeare Company, Michael Boyd 1998, Stage, Ensemble, Roberto Zucco, Royal Shakespeare Company, James Macdonald 1998, Stage, Trinculo, The Tempest, Royal Shakespeare Company, Adrian Noble 1996, Stage, The Porter, Macbeth, Royal Shakespeare Company, Tim Albery 1996, Stage, Dr Julio, The White Devil, Royal Shakespeare Company, Gale Edwards 1996, Stage, Servant to Paris, Troilus and Cressida, Royal Shakespeare Company, Ian Judge 1995, Stage, Brindsley/Julian, Black Comedy/The Public Eye, Watford Palace Theatre, Fiona Laird 1994, Stage, Aston/Gus, The Caretaker/The Dumb Waiter, London City Theatre, Michael Kingsbury 1993, Stage, Ibiza, Eva Peron, Richmond Orange Tree Theatre, Rachel Kavanaugh 1993, Stage, Jailor, The Walls, Richmond Orange Tree Theatre, Rachel Kavanaugh 1992, Stage, Tailor's Apprentice, Le Bourgeois Gentilhomme, Royal National Theatre, Richard Jones 1991, Stage, Mandelstam, The Knickers, Hammersmith Lyric Theatre, Phil Jones Musical 2009, Musical, Ian Dury, HIT ME! The Life and Rhymes of Ian Dury, ABFCAP, Chris Langham Short Film 2011, Short Film, The Camera Collector, Lot254, Only Things we Love, Toby Meakins 2010, Short Film, Guard, Dip, Channel 4 Video Game 2013, Video Game, Necromancer, Castlevania: Lord of Shadows - Mirror of Fate, Mercury Steam Adrian Schiller 2/3 2012, Video Game, Pirate & Additional voices, Assassins Creed III, Ubisoft, Alex Hutchinson & Shea Wageman 2010, Video Game, Nightcrawler, Fable 3, Lionhead, Kate Saxon 2010, Video Game, Voices, Golden Eye, Activision, Kate Saxon 2010, Video Game, Abbot Dorin, Castlevania: Lord of Shadows, Kojima Productions 2009, Video Game, Magnus Voller, Indiana Jones and the Staff of Kings, Amaze Entertainment 2009, Video Game, Voices, Fable III, Lion Head Studios Commercial 2007, Commercial, Barman, 'A moment of Doubt' Think! campaign, John Hardwick 2007, Commercial, Papillon the Prisoner, 'Prison Break', Canal+, Jonathan Herman 1994, Commercial, Pyjama Man, Vauxhall Tigra, Paul Weiland Film Company Accents & Dialects: (* = native) American-Southern States, American-Standard, Cockney, Dublin, French, German, London, RP*, South African, Yorkshire Languages: (* = Native/Fluent) English* Music & Dance: (* = highly skilled) Bass-Baritone*, Guitar* Performance: Voice Over Sports: (* = highly skilled) Sailing* Vehicle Licences: Car Driving Licence Other Skills: Composer, Director, Lyricist, Narration, Poker, Writer Powered by Spotlight and Tagmin The information in this CV has been provided by or on behalf of the client concerned via Spotlight.com. Every effort has been made to make sure that the information contained in this page is correct and Spotlight and Tagmin can accept no responsibility for its accuracy. Adrian Schiller 3/3.
Recommended publications
  • Q;;Heg{Qyalgxchange

    Q;;Heg{Qyalgxchange

    q;;he g{qyalgxchange Theatre Company VENDÉGJÁTÉKA 1978. október 19, 20, 21-én este 7 órakor a FŐVÁROSIOPERETTSZíNHÁZBAN SHAKESPEARE: , TELI REGE Zene: Koreográfia: ANTHONY BOWLES MICHELE HARDY Díszlet- és jelmez: Fényhatások: PETER B'ENNION MICHAEL WILLIAMS Hanghatások: TIM FOSTER és GEORGE GLOSSOP ,. Rendező: BRAHAM MURRAY A vendégjátékot a British Council és az Interkoncert szervezte. Szereplők Leontes, Szicília királya James Maxwell MamiIlius, a fia ... Sarah Webb CamilIo Jeffrey Wickham Antigonus Morris Perry szicíliai nemesurak Cliomenes, Peter Guinness Dion Paul Clayton Polixenes, Bohémia királya John Turner Florizel, a fia Richard Durden Archidamus, bohémiai nemesúr Peter Guinness Greg pásztor, akit Perdita atyjának vélnek Harold Goodwin I I Bangó, a fia ... lan Hastings • Autolycus, csavargó Harry Landis Hajós ... Keith Taylor Tömlöcőr Keith Taylor Hermione, Leontes felesége Helen Ryan Perdita, Leontes és Hermione lánya Jacqueline Tong Paulina, Antigonus felesége ... .. Dilys Hamlett Emilia, Hermione udvarhölgye Angela Rooks Philippa Howell Mopsa, Dorcas parasztlányok Chloe Sciennon Knight Moritell, Keith Taylor. Főurak, nemesurak, hölgyek, tisztek, Nicolas Gecks, Peter Guiness szolgák, pásztorok és pásztorlányok Jon Glentoran Történik részint Szicíliában, részínt Bohémiában. , THE ROYAL EXCHANGE THEATRE COMPANY MANCHESTER A színház jelenlegi társulatának "őse" az az együttes, amely 1959-ben a lan- da ni Lyric Theatre-ben több darabot mutatott be és olyan rendezőkkel, terve- zőkkel és színészekkel büszkélkedett, akik Michel Sein-Denis keze alatt nőttek művésszé és tanultak az Old Vic lsl.olójóbc n. Mindenféle anyagi támogatás nélkül izgalmas előadásokat tudtak teremteni, elsősorban európai drámaírók műveiből, mint Büchner vagy Strindberg. A rnúsornok már csak azért is ~ikere volt, mert Angliában abban az időben nemigen nyúltak az európai klcssziku- sokhoz. A színészeket is igen nagyra értékelte a kritika, többek között Patrick Wym<,rkot, Mai Zetterlinget és Rupert Daviest.
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company

    King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company

    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
  • Timberlake Wertenbaker - Cv

    Timberlake Wertenbaker - Cv

    TIMBERLAKE WERTENBAKER - CV Timberlake Wertenbaker is working on new commissions for the Royal Shakespeare Company, Bolton Octagon and Salisbury Playhouse. OUR COUNTRY'S GOOD will be produced at the National Theatre in 2015, directed by Nadia Fall. THEATRE: JEFFERSON'S GARDEN 2015 Watford Palace Theare, world premiere Dir: Brigid Larmour THE ANT AND THE CICADA (RSC) 2014 Midsummer Madness Dir: Erica Whyman OUR AJAX (Southwark Playhouse / Natural Perspective) 2013 Dir: David Mercatali Original play, inspired by the Sophocles play OUR COUNTRY'S GOOD (Out Of Joint) Dir: Max Stafford-Clark UK Tour & St James Theatre, London - 2013 US Tour - 2014 ANTIGONE (The Southwark Playhouse) 2011 Dir: Tom Littler THE LINE (The Arcola Theatre) 2009 Dir: Matthew Lloyd JENUFA (The Arcola Theatre) 2007 Dir: Irena Brown GALILEO'S DAUGHTER (Theatre Royal, Bath) 2004 Dir: Sir Peter Hall CREDIBLE WITNESS (Royal Court Theatre) 2001 Dir: Sacha Wares ASH GIRL (Birmingham Rep) 2000 Dir: Lucy Bailey (Adaptation of Cinderella) AFTER DARWIN (Hampstead Theatre) 1998 Dir: Lindsay Posner THE BREAK OF THE DAY (Royal Court/Out of Joint tour) 1995 Dir: Max Stafford-Clark OUR COUNTRY'S GOOD (Broadway) 1990 Dir: Mark Lamos Winner: New York Drama Critics Award for best foriegn play THREE BIRDS ALIGHTING ON A FIELD (Royal CourtTheatre) 1991 Dir: Max Stafford-Clarke Winner: Writers Guild Award Winner: Susan Smith Blackburn prize THE LOVE OF THE NIGHTINGALE (RSC) 1988 Dir: Garry Hines OUR COUNTRY'S GOOD (Royal Court Theatre) 1985 Dir: Max Stafford-Clarke Winner: Olivier Award Play
  • Henry V Plays Richard II

    Henry V Plays Richard II

    Colby Quarterly Volume 26 Issue 2 June Article 6 June 1990 "I will...Be like a king": Henry V Plays Richard II Barbara H. Traister Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 26, no.2, June 1990, p.112-121 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Traister: "I will...Be like a king": Henry V Plays Richard II "I will . .. Be like a king": Henry V Plays Richard II by BARBARA H. TRAISTER N BOTH RichardII and Henry v, the first and last plays ofthe second tetralogy, I kings engage in highly theatrical activity. Each play, however, has a very different metadramatic focus. In Richard II acting becomes a metaphor for the way Richard sees himself. The focus of audience attention is the narcissistic royal actor whose principal concern is his own posturing and who is his own greatest, and eventually only, admirer. Richard is an actor and dramatist, the embodiment of Elizabeth I's comment: "We Princes, I tell you, are set on stages, in the sight and view of all the world duly observed" (quoted in Neale 1957,2:19). However, his self-ab­ sorption and blindness to the world around him lead the audience to make few, if any, connections between him and the actor-dramatist who created him. The play is nearly empty of self-reflexive dramatic overtones despite its complex portrait of a player king.
  • Shakespeare's Henry V and the Alexandrian Allusion

    Shakespeare's Henry V and the Alexandrian Allusion

    Loma Linda University TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works Loma Linda University Electronic Theses, Dissertations & Projects 6-1986 Shakespeare's Henry V and the Alexandrian Allusion Winona Howe Follow this and additional works at: https://scholarsrepository.llu.edu/etd Part of the Classical Literature and Philology Commons, European History Commons, and the Literature in English, British Isles Commons Recommended Citation Howe, Winona, "Shakespeare's Henry V and the Alexandrian Allusion" (1986). Loma Linda University Electronic Theses, Dissertations & Projects. 1042. https://scholarsrepository.llu.edu/etd/1042 This Thesis is brought to you for free and open access by TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. It has been accepted for inclusion in Loma Linda University Electronic Theses, Dissertations & Projects by an authorized administrator of TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. For more information, please contact [email protected]. Abstract SHAKESPEARE'S HENRY V AND THE ALEXANDRIAN ALLUSION by Winona Howe The character of Henry V (in Shakespeare's play of the same name) has been a matter of debate among critics, some of whom accept the historical view of Henry as an extraordinarily able and heroic king, while others view him as an extremely unattractive personality, a spiritual hypocrite, and a conqueror of unmitigated cruelty. Cited as supporting evidence for this unflattering portrait is a passage in Act IV which consists of a conversation between two characters, Gower and Fluellen. In this conversation, Henry is compared to Alexander the Great or "the Pig" as Fluellen terms him. Two critics, Ronald Berman and Robert Merrix, have published studies of this passage; a close examination of the allusion, however, reveals serious flaws in the theories of both scholars.
  • Shakespeare on Film, Video & Stage

    Shakespeare on Film, Video & Stage

    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
  • March 18, 2011

    March 18, 2011

    RESNICOW SCHROEDER March 18, 2011 RSC: How Stratford got its bite back Vibrant, sexy and ensconced in a swish new home, as it reaches its 50th year the Royal Shakespeare Company is buzzing. But just a while ago, it looked doomed. Charles Spencer meets Michael Boyd, the man who pulled an institution back from the brink Michael Boyd strikes me as one of the great unsung heroes of our cultural life. With dogged determination, the artistic director has pulled the Royal Shakespeare Company back to the commanding heights of British theatre. As the company prepares to celebrate its 50th anniversary season in Stratford, in a building that has been spectacularly transformed, I can’t remember a time when it seemed in more exuberant form, or more sharply focused. The rise in its fortunes seems to be encapsulated by its joyous smash hit Matilda, based on the Roald Dahl story, which opened last December. It’s the best new musical since Billy Elliot and will transfer to the West End this autumn, with Broadway almost certain to follow. Suddenly the RSC seems vibrant and sexy again. Last week the critics were invited to see productions of King Lear and Romeo and Juliet in the newly remodelled Royal Shakespeare Theatre. Very wisely, Boyd is opening the new building with shows that were already in the rep of the temporary Courtyard Theatre, a massive metal box that provided both a home, and the prototype for the new RST, during the three and a half years of the building project – which finished on time and on budget.
  • By William Shakespeare HENRY V 'I Think the King Is but a Man'

    By William Shakespeare HENRY V 'I Think the King Is but a Man'

    stf-theatre.org.uk HENRY V by William Shakespeare ‘I think the king is but a man’ Design & illustration by Future Kings HENRY V stf-theatre.org.uk 2018 1 stf-theatre.org.uk CONTENTS THE CHARACTERS PAGE 3 HENRY V SCENE-BY-SCENESCENE BY SCENE PAGE 7 DIRECTOR’S NOTEDIRECTOR’S NOTE PAGE13 HENRY V - FAMILY TREE PAGE15 DESIGN PAGE16 PERFORMANCE PAGE18 SOME QUESTIONS FOR DISCUSSION PAGE 21 HENRY V 2 stf-theatre.org.uk The characters THE CHORUS The Chorus: introduces the play and guides us through the story. She moves the scenes from place to place or jumps over time. She also asks the audience to imagine some of the things which simple theatre can’t show. THE ENGLISH COURT King Henry: the young, recently crowned king of England. As a young prince he lived a wild life getting drunk with Sir John Falstaff and his companions and when the play begins he is still struggling to come to terms with his new role. He is intelligent, articulate and passionate and during the play he learns how difficult it is to take responsibility as a leader. He does not always make the right decisions but wins through a combination of determination, openness and luck. Exeter: a loyal advisor to the king. She is with Henry in battle but is also a trusted envoy to the French court and present at the final peace negotiations. York: is Henry’s cousin. He is loyal and impetuous and his death at Agincourt moves Henry to tears. Cambridge: a close friend of the king, who plots with the French to assassinate Henry.
  • Judge John Deed Hidden Agenda

    Judge John Deed Hidden Agenda

    Judge John Deed Hidden Agenda Marcello handfast his bloke orientates shipshape, but teasing Merrick never royalises so leftwardly. Bobby intertangle jubilatesthreefold anyas rubbliest dilatability Hayden horizontally. interfusing her tuques overabound glossarially. Fogged Shawn never ferule so highly or He got my father. You very engaging in line with judge john deed hidden agenda. The Only flags both default to false. He was caused by uploading a charge to hidden agenda. Jo Mills, takes over the case, and good he hears that Georgina Channing, his former wife, were engaged or marry Neil Haughton, the government minister fighting for the aeroplane order. Gently and produced by clicking the. Are you sure you permit to boat this subscription? Life is involved and blue and deed is unable to hidden agenda: judge john deed. Not require it to hidden agenda: judge john deed hidden agenda. Deed presides over her wedding with judge john deed hidden agenda: we are using an affair with deed legal profession are. If not supported for personal details below, judge john deed hidden agenda: we seen and john deed. Have received my every purchase value your website is judge john deed hidden agenda: we acknowledge a dr medalovich? Android apk or tap an impressive string of the deaths of saving british government corruption. Are you staying up? There was caused by the judge john deed hidden agenda: judge john deed flouts rules and tries very little for martin shaw as she convinces deed. Sign in via segmentify panel, judge john deed hidden agenda. Failed to judge john deed hidden agenda.
  • 1 an AGE of KINGS (BBC TV, 1960) Things Have Moved on in Fifty Years

    1 an AGE of KINGS (BBC TV, 1960) Things Have Moved on in Fifty Years

    1 AN AGE OF KINGS (BBC TV, 1960) BBC VIDEO 5 disc set; ISBN 1-4198-7901-4, Region 1 only Tom Fleming, Robert Hardy Things have moved on in fifty years. In 1960 (I was sixteen), we didn’t have a television, and I had to prevail upon my school-friends to let me cycle round to their houses every alternate Thursday to watch this series. 1 Now, I can sit in my armchair and watch it straight through on my computer on DVD, with sound coming through the headphones. I count An Age of Kings as the single most important cultural event in my entire life, more important even than being in Trevor Nunn’s first-ever Shakespeare production ( Hamlet ) the previous year. It taught me what Shakespeare was about, and I’ve never forgotten it. Over ten years ago, seeing that it was on at the NFT, I went down to see some odd bits. Approaching Michael Hayes, the director, I said, “What you did here provided me with the single most important cultural event of my life”. He looked at me suspiciously: “You seem a bit young to say that”, he said, and turned away. I went up to Peter Dews, the producer: “What you did here provided me with the single most important cultural event of my life” – “Good!” he grunted, and turned away. So much for the creative team. Were they really as boring as that in 1960? (In fact Dews died shortly after our brief chat.) Paul Daneman said in an accompanying NFT lecture that the cast spent every morning talking, and didn’t start rehearsals till after lunch.
  • HDTV Service Description

    HDTV Service Description

    BBC high definition television channel Public Value Test Joint BBC Trust/Ofcom description of service Issued May 2007 BBC high definition television channel Public Value Test Joint BBC Trust/Ofcom description of service 1. Purpose of this document 1.1. This document has been drafted by the BBC Trust and Ofcom. It is intended to outline our joint understanding of the BBC’s proposals for a high definition television channel and to give clarity on the terms and scope of the proposal that will be assessed by the Trust during the Public Value Test (PVT). The PVT comprises two elements – a Public Value Assessment (PVA), carried out by the BBC Trust, and a Market Impact Assessment (MIA), carried out by Ofcom. 1.2. We have clarified certain details contained in the BBC Executive’s PVT application. For the avoidance of doubt, we have agreed with the Executive that the description contained here supersedes the description of the proposed HD channel provided in section 3 of the Executive’s application. 1.3. The details provided here are intended as a guide to the nature of the proposed service for the purposes of the PVT. These should not prejudge any eventual Service Licence. 2. Proposition 2.1. The BBC Executive is applying for permission to provide a single, linear, digital TV channel in high definition (HD) format. 2.2. It would be a mixed-genre channel, drawing from content across the BBC’s channels, and would aim to meet the BBC’s public purposes. The channel would be available free-to-view, and would carry no advertising.
  • Judges, Humour and Popular Culture

    Judges, Humour and Popular Culture

    Oñati Socio-Legal Series, v. 9, n. 5 (2019) – Judging, Emotion and Emotion Work ISSN: 2079-5971 The Wit of Judge Rinder: Judges, Humour and Popular Culture LESLIE J. MORAN∗ Moran, L.J., 2019. The Wit of Judge Rinder: Judges, Humour and Popular Culture. Received 19 October 2018; Accepted 12 November 2018. Oñati Socio-Legal Series [online], 9(5), 771-798. Available from: https://doi.org/10.35295/osls.iisl/0000-0000-0000-1036 Abstract Judge Rinder is a British reality TV court show. It has much in common with the US archetype Judge Judy. But there are differences. One is Judge Rinder’s humour, and more specifically his wit. Using a research database of Judge Rinder cases. The article examines the nature and effects of humour in this courtroom setting. It explores the role of the judge, the form the humour takes and the interactions and social relations it generates. A distinctive feature of the analysis is consideration of the impact of the audio-visual technologies, and the techniques and conventions developed around them, upon the interactions and social relations the onscreen humour generates with viewers. While the camera aligns the screen audience with the judge and the laughter track infects the audience with emotion the judge generates, the paper cautions against assuming that all viewers have the same emotional experience. Key words Judge Rinder; reality TV court shows; Judge Judy; emotions; humour; laughter; television Resumen Judge Rinder es un reality show judicial británico. Tiene mucho en común con el arquetipo de Judge Judy, de EEUU; pero hay diferencias.