DOCSLIB.ORG

WONDERLAND PROGRAMME .Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WONDERLAND PROGRAMME .Indd A co-production with Vanishing Point, Fondazione Campania Dei Festival - Napoli Teatro Festival Italia and Tramway. In association with Eden Court Vanishing Point vanishing-point.org Wonderland Created by Vanishing Point Conceived and directed by Matt hew Lenton With thanks to Set, lighti ng and projecti on designer Kai Fischer Lung Ha’s Composer and sound designer Mark Melville Savalas at Film City Costume designer Becky Minto Grid Iron Dramaturg Nicola McCartney Martyn Robertson at Urban Croft Assistant Director Rebecca Morris The Nati onal Theatre of Scotland Traverse Theatre Cast Wee Stories Gabriel Da Costa, Flávia Gusmão, Pauline Goldsmith, Paul Thomas Hickey, Tron Theatre Jenny Hulse, Damir Todorović and Owen Whitelaw Royal Lyceum Theatre Citi zens Theatre Producti on Manager Fiona Fraser Christi ne Dove Stage Manager Lee Davis Euan McLaren Deputy Stage Manager Catherine Devereux Mallinson Television Producti ons Lighti ng technician Rory Kay Video technician Sam Jeff s Sound technician Ross Ramsay Photography Tommy Ga-Ken Wan / Francesco Squeglia Graphic Design Greenlight Creati ve Internati onal Distributor Aldo Grompone Manager / Producer Severine Wyper Projects Manager Eleanor Scott Press Manager Lesley Booth NOTE FROM ARTISTIC DIRECTOR Going further Vanishing Point’s process of creati on always starts with an idea that people really have over their own consent? How should individual and grows and develops in the rehearsal room. There is no script or a story collecti ve boundaries be drawn? Almost every household now has in advance, only the possibility of these things. It is like writi ng a play, access to increasingly extreme imagery in the name of pornography. but in three dimensions. We oft en end up with a show that has grown Stati sti cs tell us more and more people are using it — or even from the idea we started with but that might not always resemble it. dependent on it. The original subject matt er is not always obviously apparent, but it is there beneath the surface. Someone may be sitti ng at the dinner table with his or her family. He or she can go next door to the computer and enter extreme and Like a lot of our work, Wonderland started with an idea — a subject someti mes disturbing worlds; then return to the table. They have not we wanted to explore. That starti ng-point was pornography and the left their home. Yet their minds have been off somewhere. Oft en, the internet, inspired in part by Hardcore, a documentary fi lm by Stephen more extreme imagery shows people being ‘pushed’ or ‘pushing them- Walker, which recorded the journey of a young Briti sh woman called selves’ beyond their limits. One infamous pornographer, featured in Felicity. We wanted to investi gate why people become involved in Stephen Walker’s fi lm, talks openly about pushing his subjects, because making hardcore or extreme pornography, and why people watch it and ‘they can go further, they just don’t know it’. He says, ‘the fatal word, what impact it has on them, when it oft en records ‘real’ experiences the word no-one wants to hear on a porno set is “no”. That’s why I want and depicts people suff ering. to work with girls who are wide-eyed and don’t know what’s coming next’. The performers oft en seem surprised or uncomfortable. Why do The internet presents us with complex dilemmas with regard to sexual they put themselves in this situati on and conti nue to do so? Why do tastes, consumerism, fantasy and our moral compass: it is wrong to people watch it? Why do some people fi nd themselves wanti ng more? watch people being abused, but what if we are watching someone How is it aff ecti ng people’s lives and futures? pretending or allowing themselves to be abused? What is ‘abuse’? How can we tell if something is real or not? How much control do Felicity went to Los Angeles with a very clear idea of what she would The noti on of when complicity, consent and performance begin and end and would not do. Yet only weeks later all her self-imposed limits had fascinated us increasingly in the creati on process. This was the ‘story’ been tested and broken. As the narrator observes, ‘she seems to have that began to assert itself: something about the details of performance, become fractured from herself’ as she performs ever more explicit, ever of reality, of truth, of reading certain situati ons in certain ways. Of how more extreme, ever more uncomfortable scenes. Yet at no point does and why someone ‘goes further’. Felicity stop. Why does she go on? The fi lm draws an uneasy conclusion, © Matt hew Lenton suggesti ng it is all to do with the relati onship she had with her father. Maybe, but how can we know? What else might moti vate Felicity? Money? Desire for stardom? Escape from the mundanity of everyday life? Or simply the fact that she likes it, because it is as exciti ng as hell? Nobody knows. One of the factors we cannot ignore is the fact that Felicity is being fol- lowed on her journey by the documentary crew. On one occasion she seems to conti nue with a frankly horrifying meeti ng in order to ‘show’ the documentary crew that she is in control. The complexity and detail of these interacti ons, as Felicity negoti ates her way through the series of meeti ngs and fi lms, is fascinati ng. Who is in control? Who is making the decisions? Who is responsible for what is happening? I was reminded of Alice, whose curiosity leads her through a rabbit hole into a chaoti c, dangerous and inexplicable world. BIOGRAPHIES directed by Graca Correa, she has worked with the Teatro Experimental de Cascais and the Teatro Experimental da Garagem and has worked with such directors as Ana Luisa Guimaraes, Diogo Infante, Cristi na Carvalhalal, Gabriel Da Costa Aderbal Freire Jr., Joana Craveiro, Nuno Cardoso, Marti m Pedroso, Jorge performer Andrade, Tiago Rodrigues, Goncalo Waddington, João Grosso and Marcos Gabriel Da Costa is French–Portuguese and works in Barbosa, with whom she created the solo work Amor. Her other credits Belgium, France and Italy. Since training at the Insti tut include Saturday Night for Vanishing Point; The Trojans at the 2009 Nati onal Supérieur des Arts du Spectacle et des Techniques de Diff usion, Napoli Teatro Festi val; co-directi ng Recipe for Hearing Me at the Brussels, he has worked with the theatre directors Emma Dante, Ingrid Café–Teatro Maria Matos, Lisbon; and creati ng and performing the solo Von Wantoch-Rekowski, Sophie Maillard, Caspar Langhoff and Joelle Falt as part of a festi val presenti ng short plays in darkness. She fi rst Sevilla; the conductors Daniel Barenboim and Gustavo Dudamel; and the worked with Matt hew Lenton during the 2010 editi on of the Ecole des fi lm directors Frédéric Fonteyne and Alexandre Asti er. He was a member Maitres and in 2009 she received a grant from the Inov-Art program to of Emma Dante’s SudCostaOccidentale company in Palermo and work with Enrique Diaz at Cia dos Atores, Rio de Janeiro. parti cipated in Wim Vandekeybus’s Monkeys video project with Ulti ma Vez; the École des Maîtres’s internati onal project in 2010; Thomas Pauline Goldsmith Ostermeier’s Perform at the 2010 Venice Biennale; and workshops performer with the Mossoux–Bonté Company. His directi ng credits include Etal Pauline Goldsmith’s appearances with Vanishing Point Urbain at the BXL Bravo Festi val, Brussels, and COMIDA at the Théâtre include Mrs Peachum (The Beggar’s Opera), the Les Tanneurs, Brussels, which he wrote. He is a member of the COMIDA development of Interiors, Helena (LiOtt leti k), Last Stand and Company and the Looking For Michele collecti ve, and is a professor at The Sightless. Her other theatre credits include Allotment for Nutshell the Acti ng Studio in Lyon. He has writt en and directed three shows for at last year’s Edinburgh Festi val Fringe; Glue Boy Blues, The Maids and children, Amado Mio, Territory and The Comedy of the Art. Vivien Leigh in Elysian Fields for Glasgay; Entartet with Kai Fischer at the Centre for Contemporary Arts, Glasgow; Bliss and Talking Heads: Her Big Flávia Gusmão Chance at the Tron Theatre, Glasgow; Rocketville for Òran Mór; Elizabeth performer Gordon Quinn for the Nati onal Theatre of Scotland; Caged Heat, Play/ Flávia Gusmão was born in Lisbon in 1978 and trained at Footf alls, Juno and the Paycock, Playboy of the Western World, Blood the Escola Profi ssional de Teatro de Cascais. Since making and Water and Caligari at The Arches, Glasgow; Not I at The Arches, for her professional debut in 1996, in Audicao Mecanica Para 13 Actrizes which she won the Stage Award as Best Actress at the 2004 Edinburgh Jenny Hulse Festi val Fringe; and Let Her Body Become a Living Lett er at the Tramway performer Theatre, Glasgow. Her fi lms include 1911, Peacefi re, Hikkimori, Boy, Jenny Hulse trained at the Royal Scotti sh Academy of Music The Magdalene Sisters, 16 Years of Alcohol, A Map With Gaps and Mary and Drama (RSAMD). Her theatre credits include Hot Mess Queen of Scots – Tragic Queen. She also performs in her own shows, most for Lati tude/Arcola; Be My Baby at the Derby Theatre; Beauty and the recently Bright Colours Only at the Societatstheater Dresden, and she Beast at the Citi zens Theatre, Glasgow; Sense for Frozen Charlott e; Every appears as a stand-up comedian in clubs in Scotland and Ireland.
Load more

Recommended publications
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • Edinburgh International Festival Society Papers
    Inventory Acc.11779 Edinburgh International Festival Society Papers National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland BOX 1 1984 1. Venue letting contracts. 2. Australian Youth Orchestra. 3. BBC Orchestra. 4. Beckett Clurman. 5. Black Theatre 6. Boston Symphony 7. Brussels Opera 8. Childrens Music Theatre 9. Coleridges Ancient Mariner 10. Hoffung Festival BOX 2 1984 11. Komische Opera 12. Cleo Laine 13. LSO 14. Malone Dies 15. Negro Ensemble 16. Philharmonia 17. Scottish National 18. Scottish Opera 19. Royal Philharmonic 20. Royal Thai Ballet 21. Teatro Di San Carlo 22. Theatre de L’oeuvre 23. Twice Around the World 24. Washington Opera 25. Welsh National Opera 26. Broadcasting 27. Radio Forth/Capital 28. STV BOX 2 1985 AFAA 29. Applications 30. Amsterdam Baroque Orchestra/Netherlands Chamber Orchestra 31. Balloon Festival. 32. BBC TV/Radio. 33. Le Misanthrope – Belgian National Theatre 34. John Carroll 35. Michael Clark. BOX 3 36. Cleveland Quartet 37. Jean Phillippe Collard 38. Compass 39. Connecticut Grand Opera 40. Curley 41. El Tricicle 42. EuroBaroque Orchestra 43. Fitzwilliam 44. Rikki Fulton 45. Goehr Commission 46. The Great Tuna 47. Haken Hagegard and Geoffery Parons 48. Japanese Macbeth 49. .Miss Julie 50. Karamazous 51. Kodo 52. Ernst Kovacic 53. Professor Krigbaum 54. Les Arts Florissants. 55. Louis de France BOX 4 56. London Philharmonic 57. Lo Jai 58. Love Amongst the Butterflies 59. Lyon Opera 60. L’Opera de Nice 61. Montreal Symphony Orchestra 62.
    [Show full text]
  • Inventory Acc.13182 Edith Macarthur
    Acc.13182 October 2010 Inventory Acc.13182 Edith Macarthur National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, circa 1942-2006, of Edith Macarthur, actor (b.1926). The collection includes scripts, photographs, press cuttings and other items of theatre and television memorabilia. Edith Macarthur’s stage career has taken her to most major producing theatres in Scotland, and to many in England. The variety of her range is demonstrated in the collection, from her early days with respected amateur company, the Ardrossan and Saltcoats Players, to acclaim with prestigious companies such as the Royal Lyceum, Citizens’, Gateway, Bristol Old Vic, Pitlochry Festival, Traverse and Royal Shakespeare. Leading roles in the canon of major plays by Arthur Miller, James Bridie, Anton Chekhov, Eugene O’Neill, Noel Coward and their like, and various acclaimed productions of ‘The Thrie Estaites’, established her stage reputation. Alongside runs a vein of comedy and variety, from the ‘Five Past Eight Shows’ of the 1950s at the Citizens’, to regularly playing Cinderella’s Fairy Godmother in pantomime during the 1980s and 1990s. There is also a considerable body of television work, from early series such as ‘The Borderers’ and ‘Sutherland’s Law’, and the renowned 1970s adaptation of ‘Sunset Song’, to the long-running Scottish Television soap, ‘High Road’. A milestone was the 1993 film ‘The Long Roads’ by John McGrath. At about this time Miss Macarthur was coming to the attention of less mainstream theatre-producers in Scotland.
    [Show full text]
  • Casting Complete for Goodspeed's Moving New Musical Hi, My Name Is
    NEWS RELEASE FOR MORE INFORMATION, CONTACT: Elisa Hale at (860) 873-8664, ext. 323 [email protected] Dan McMahon at (860) 873-8664, ext. 324 [email protected] CASTING COMPLETE FOR GOODSPEED’S MOVING NEW MUSICAL HI, MY NAME IS BEN A Modern-Day Fairytale About Communication And Connection Hi, My Name is Ben begins May 17 at The Terris Theatre EAST HADDAM, CONN., APRIL 11, 2019: Goodspeed Musicals continues its commitment to innovative, thought-provoking new works with Hi, My Name is Ben, the inspirational true story of one man who impacted the lives of all those around him without speaking a word. Written by Scott Gilmour and Claire McKenzie while in residence at the Johnny Mercer Writers Colony at Goodspeed, this hope-filled musical will run May 17 – June 9, 2019 at The Terris Theatre in Chester, CT. This production is supported in part by the Richard P. Garmany Fund at the Hartford Foundation for Public Giving The true story of one ordinary man and his extraordinary life. From his tiny room in New York City, Bernhardt Wichmann III changed the lives of those around him without ever speaking a word. Using just his notepad, pen and open heart, Ben turned a neighborhood of strangers into a community of friends, before finally encountering a miracle of his own. Featuring an uplifting, folk-inflected score by award-winning Scottish writing team Noisemaker in association with Dundee Rep, one of Scotland’s leading theatres, this is the story of how one man with nothing somehow changed everything. Ben will be played by Joel Rooks, who has performed in several Broadway shows including Fish in the Dark, The Royal Family, Say Goodnight Gracie, Taller Than a Dwarf, The Tenth Man, The Sisters Rosensweig, and Frankie and Johnny in the Clair de Lune.
    [Show full text]
  • Dragonfly Dragonfly
    DRAGONFLY STORYTELLING & STORY A ACTINGCTING FOR EARLY YEARS CHILDREN A COMPREHENSIVE PACK FOR EARLY YEARS STAFF INTRINTRODUCTIODUCTIODUCTIONONONON Dragonfly is an intensive Early Years project that uses creative arts to empower the child. The aims of Dragonfly are to place the child at the heart of his or her own learning and enhance the nursery community, making it a community where the children listen and speak freely. Citizens Learning & TAG has been developing the technique for 2 years now and over 800 children aged 3- 5 years have already participated in our programme. Citizens Learning & TAG is one of the major players in the children and young people’s theatre sector in Scotland. TAG is part of the Citizens Theatre in the Gorbals. This pack has been designed for Early Years teachers to use in the classroom. Included in the pack is a step by step guide to the technique, allowing teachers and nursery staff to gain confidence in their ability. There are also examples of stories that real children have told us. These stories may be useful when the technique is first introduced, as it is useful to have a bank of stories at hand. We hope you enjoy using this pack and find it helpful. Your feedback is always welcome and you can contact Citizens Learning & TAG at any time through our website www.tagwww.tag----theatre.co.uktheatre.co.uk or by phoning Angela Smith on 0141 418 6271. THE PROJECT Dragonfly puts play, storytelling and story acting at the heart of the classroom. Each child is granted the space to be listened to and acknowledged.
    [Show full text]
  • The Findings at a Glance
    Act 2 Findings At A Glance 62K 232 Audience responses Organisations Booking Only 17% Half NOW for of those booking are for events of respondents are from NOVEMBER events booking for events Returning 67% 70% would consider attending would not consider booking for to events events if venues re-opened events for at least 3 months with social distancing Covid-safe ‘kite mark’ Masks for audiences Households seated together Safety & Unallocated seating Limited numbers Restricted facilities ü Seat spacing û Comfort Digital 83% >½ Culture interested in culture online would pay for it Outdoor 94% >¾ Culture Are interested in culture outdoors would pay for it Audiences expect to Economic 81% Concern for survival of spend 4% more on Viability cultural organisations culture Act 2 Wave 1 Report June 2020 © Indigo-Ltd 3 Appendix 2: Participating Organisations England Ipswich Regent Theatre Strode Theatre YMCA Theatre Scarborough a space arts Jacksons Lane Sunderland Culture Arts Centre York Concerts ADC Theatre Jersey Arts Centre Washington Alnwick Playhouse Jumped Up Theatre Take Art Scotland AMATA, Falmouth University Junction Goole Tetbury Music Festival Aberdeen Performing Arts Arts In Rural Gloucestershire Kenton Theatre Tete a Tete Productions Ayr Gaiety Partnership Artsadmin Kings Theatre Portsmouth The Albany Byre Theatre artsdepot Kirkgate Arts The Albany Theatre Cranleigh Arts Artsreach Kneehigh The Apex Edinburgh Festival Fringe Assembly Hall Lakeside Arts, Uni of Nott. The Atkinson Edinburgh International Attenborough Centre for the Leeds
    [Show full text]
  • There's a Little Theatre in Us All!
    THERE’S A LITTLE THEATRE IN US ALL! Theatre Tokens - Participating Venues Details correct as of Friday, 07 July 2017 * Plus your telephone company's network charge Aberdare Coliseum 0800 014 7111 Dumfries Theatre Royal 01387 254209 Aberdeen Aberdeen Box Office 01224 641122 Dumfries (for His Majesty's Dundee Dundee Repertory 01382 223530 Theatre & Music Hall) Theatre Aberdeen His Majesty's Theatre 01224 641122 East Grinstead Chequer Mead 01342 302000 Aberdeen Music Hall 01224 641122 Theatre Aberystwyth Arts Centre 01970 623232 Eastleigh The Point Theatre 02380 652333 Aylesbury Aylesbury Waterside 0844 871 7667 Calls cost 7p/pm* Edinburgh Festival City Theatres 0131 529 6000 Theatre Edinburgh Kings Theatre 0131 529 6000 Bath Theatre Royal 01225 448844 Edinburgh Playhouse Edinburgh 0844 871 7667 Calls cost 7p/pm* Bedworth Civic Hall 02476 376707 Edinburgh Royal Lyceum Theatre 0131 248 4848 Birmingham Alexandra Theatre 0844 871 7667 Calls cost 7p/pm* Edinburgh Traverse Theatre 0131 228 1404 Birmingham Repertory Theatre 0121 236 4455 Epsom Epsom Playhouse 01372 742555 Blackburn King George's Hall 0844 847 1664 Calls cost 7p/pm* Exeter The Exeter Northcott 01392 726363 Blackpool Grand Theatre 01253 290190 Theatre Bognor Regis Alexandra Theatre 01243 861010 Eastbourne Congress Theatre 01323 412000 Bolton Octagon Theatre 01204 520661 Eastbourne Devonshire Park 01323 412000 Bradford Alhambra Theatre 01274 432000 Theatre Bradford St George's Concert 01274 432000 Eastbourne Royal Hippodrome 01323 802020 Hall Theatre Bristol Bristol Hippodrome 0844
    [Show full text]
  • Citizens Theatre and Originally Created with the Traverse Theatre
    Untitled Projects In association with the Citizens Theatre and originally created with the Traverse Theatre. revisited Photography: Tommy Ga-Ken Wan / Design: After the News Untitled Projects In association with the Citizens Theatre and originally created with the Traverse Theatre. * revisited devised by Stewart Laing *“Theatre of conversation and exchange” http://en.wikipedia.org/wiki/salon_(gathering) Citizens Theatre, Glasgow 15th – 23rd March 2013 Inside The Salon Speakers having spent some time discussing war, death, terror and killing in the media, he Host — Stewart Laing Thanks to the Wellcome Trust for their is now producing a book of love stories Salonnière — Muriel Gray support of our Speakers Programme with his friend Lucretia Chauvel, entitled Salonnière — Donna Rutherford Coup de Foudre. Pianist — Edward Cohen Part of Wonder: Art and Science on Gramophone DJ — Jack Wrigley the Brain Friday 15th March 2013 Major Domo — Edd Crawley 2 Mar-10 Apr Dr Fabienne Collignon Photographer — Tommy Ga-Ken Wan A season to light up the mind with film, Half Lives Singer — Ginny Wilson theatre, music, talks and participation. Fabienne Collignon is a Lecturer in #wonderseason Contemporary Literature at the University Guides barbican.org.uk/wonder of Sheffield. She is particularly interested Lorna Duguid, Christine Hamilton, in American techno-culture and machine Nick Millar, Lesley MacDonald, Thursday 14th March 2013 aesthetics. Her work to date focuses Jana Robert, Steve Slater, Dr Fabienne Collignon mainly on cold war dream weapons and Drew Taylor, Emilia Weber Half Lives their implantations in the land. Fabienne Collignon is a Lecturer in Ushers Contemporary Literature at the University Professor Seth Grant Vasso Georgiadou of Sheffield.
    [Show full text]
  • AMA Scotland
    Culture Republic Royal Scottish National Orchestra University AMA of Glasgow Edinburgh Museums and Galleries Mercat Tours Ltd National Museums Scotland Glasgow Life Dance Base Scottish Scotland Chamber Orchestra Scottish Ensemble Royal Conservatoire of Scotland Culture Perth And Kinross Limited ON with Fife Cultural Trust Cryptic Museums Galleries Scotland Citizens Theatre The Media Shop Scotland The Brunton An Lanntair National Theatre of Scotland Creative Scotland Imaginate Dundee Rep Theatre Scottish Opera Wasps studios Festival & King’s Theatres Edinburgh Lung Ha Theatre Company Dundee Contemporary Arts National Youth Choir of Scotland Leisure and Culture Dundee BBC Scottish Symphony Orchestra Ticketline Perth Theatre & Concert Hall The Gaiety Theatre Cumbernauld Theatre Shetland Arts Development Agency Centre for the Moving Image Eden Court Theatre & Cinema Tron Theatre Edinburgh International Science Festival Puppet Animation Scotland Ambassador Theatre Group Venues Ltd Traverse Theatre YDance Aberdeen Performing Arts Royal Lyceum Theatre Edinburgh The Beacon Museum Red61 Stellar Quines Theatre Company Borderline Theatre Company Youth Theatre Arts Scotland Cultural Enterprise Office Edinburgh International Book Festival Edinburgh Art Festival Scottish Ballet Macrobert Arts Centre Aberdeen City Council Scottish Fisheries Museum Usher Hall Edinburgh International Festival Centre For Contemporary Arts Historic Scotland Falkirk Community Trust “The AMA has been “The AMA works with its Culture Republic Royal Scottish National Orchestra University Join the AMA invaluable in my career and members in Scotland of Glasgow Edinburgh Museums and Galleries Mercat Tours Ltd Join our diverse network of I’m so proud to be giving to help you realise your National Museums Scotland Glasgow Life Dance Base Scottish members working to reach back as a board member.
    [Show full text]
  • A Doll's House
    The National Theatre of Scotland and Royal Lyceum Theatre present SCOTTISH PREMIERE A Doll’s House By Henrik Ibsen, in a version by Zinnie Harris Directed by Graham McLaren Set Design by Robert Innes Hopkins, Lighting Design by Tim Mitchell, Sound Design by Nick Sagar Cast includes: Robert Cavanah, Brian McCardie, Lucianne McEvoy, Kevin McMonagle, Amy Manson, Sharon Young At the Royal Lyceum Theatre, Edinburgh from 16 April to 4 May 2013 Press Performance: Wednesday 17 April at 7.45pm Following the success of the critically acclaimed production The Guid Sisters in 2012, the National Theatre of Scotland is delighted to be working in partnership again with the Royal Lyceum Theatre, Edinburgh to bring this new version of Henrik Ibsen’s A Doll’s House to the Scottish stage for the first time. A stellar cast of Scottish performers has been assembled, with the lead role of Nora being played by Amy Manson. This will mark Amy’s return to the Lyceum, where she won Best Performance (Female) in 2008 for her role in Six Characters in Search of an Author at the Critics' Awards for Theatre in Scotland. Since then she has gone on to enjoy success in British film and television. A Doll’s House caused outrage both in its style and content when first staged in 1879. Zinnie Harris has transposed her version from late 19th-century Norway to Edwardian London and shifted the tale of intrigue, fraud and betrayal from the world of finance to that of politics. Her version has strong contemporary resonances, revealing a world where duty, power and hypocrisy rule, and brings modern sensibilities to bear on Nora’s marriage, at the heart of the play.
    [Show full text]
  • The Bacchae the Bacchae by Euripides, in a Version by David Greig
    RCS The Bacchae by Euripides, in a version by David Greig Programme Wed 4 Nov - Thu 5 Nov 2020 New Athenaeum Theatre The Bacchae by Euripides, in a version by David Greig This amateur production is presented by special arrangement with Casarotto Ramsay & Associates RCS Welcome Welcome Welcome to the Royal Conservatoire's first live theatre performance of this new academic year. This production of David Greig's version of Euripides' The Bacchae, directed by Finn den Hertog, is the result of the first in-person rehearsal process carried out by the BA Acting students since the UK entered pandemic lockdown in March 2020. Our final year BA Acting students, supported by their colleagues from the BA Production, Arts and Design, and BA Production Technology Management programmes, have risen to the enormous challenge of rehearsing and staging a play while maintaining social distancing, reduced capacity rehearsal rooms, different approaches to voice work and the safe handling of props, to name just a few Covid led adaptations. Live performance is at the heart of what we do at the Conservatoire and it is testament to the enormous amount of work from everyone over the past 6 months, in order to facilitate in-person rehearsals and live performance, against all the odds, that this is about to happen. The Bacchae features half of our BA Acting Class of 2021, the other half will be bringing David Greig's The Speculator to the same stage in December. The students also continue to explore ways to create theatre and tell stories via online medium and begin to prepare for their Graduate Showcase events planned for March 2021.
    [Show full text]