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Black Anarchism, Pedro Riberio
TABLE OF CONTENTS 1. Introduction.....................................................................................................................2 2. The Principles of Anarchism, Lucy Parsons....................................................................3 3. Anarchism and the Black Revolution, Lorenzo Komboa’Ervin......................................10 4. Beyond Nationalism, But not Without it, Ashanti Alston...............................................72 5. Anarchy Can’t Fight Alone, Kuwasi Balagoon...............................................................76 6. Anarchism’s Future in Africa, Sam Mbah......................................................................80 7. Domingo Passos: The Brazilian Bakunin.......................................................................86 8. Where Do We Go From Here, Michael Kimble..............................................................89 9. Senzala or Quilombo: Reflections on APOC and the fate of Black Anarchism, Pedro Riberio...........................................................................................................................91 10. Interview: Afro-Colombian Anarchist David López Rodríguez, Lisa Manzanilla & Bran- don King........................................................................................................................96 11. 1996: Ballot or the Bullet: The Strengths and Weaknesses of the Electoral Process in the U.S. and its relation to Black political power today, Greg Jackson......................100 12. The Incomprehensible -
Race by David Mamet Directed by Thomas-Whit Ellis Plot
Race By David Mamet Directed by Thomas-Whit Ellis Plot RACE follows "three attorneys, two black and one white, offered a chance to defend a white man charged with a crime against a black woman." The plot unfolds as the three lawyers and defendant grapple with the evidence of the case and their own feelings about race. Mamet has said that the "theme is race and the lies we tell each other on the subject." History RACE premiered on Broadway at the Ethel Barrymore Theatre on November 16, 2009 in previews, officially on December 6, 2009, closing on August 21, 2010 after 297 performances and 23 previews. Directed by Mamet, the cast included James Spader, David Alan Grier, Kerry Washington, and Richard Thomas. Scenic design was by Is the law Santo Loquasto, lighting design by Brian MacDevitt and Black costume design by Tom Broecker. David Alan Grier was nominated for a Tony Award for Best Performance by a & Featured Actor in a Play. White? The producers announced on April 21, 2010 that the play had recouped its investment, making it the first new play to recoup on Broadway in the 2009-2010 season. Performance Dates Friday, October 3 @ 8 p.m. The play has been produced in US regional theatres, such Saturday, October 4 @ 8 p.m. as at the Goodman Theatre in Chicago in 2012 and Next Act in Milwaukee in 2014. Sunday, October 5 @ 2 p.m. Tuesday, October 7 @ 8 p.m. Canadian Stage's production ran from April 7 to May 4, Wednesday, October 8 @ 8 p.m. -
In Kindergarten with the Author of WIT
re p resenting the american theatre DRAMATISTS by publishing and licensing the works PLAY SERVICE, INC. of new and established playwrights. atpIssuel 4,aFall 1999 y In Kindergarten with the Author of WIT aggie Edson — the celebrated playwright who is so far Off- Broadway, she’s below the Mason-Dixon line — is performing a Mdaily ritual known as Wiggle Down. " Tapping my toe, just tapping my toe" she sings, to the tune of "Singin' in the Rain," before a crowd of kindergarteners at a downtown elementary school in Atlanta. "What a glorious feeling, I'm — nodding my head!" The kids gleefully tap their toes and nod themselves silly as they sing along. "Give yourselves a standing O!" Ms. Edson cries, when the song ends. Her charges scramble to their feet and clap their hands, sending their arms arcing overhead in a giant "O." This willowy 37-year-old woman with tousled brown hair and a big grin couldn't seem more different from Dr. Vivian Bearing, the brilliant, emotionally remote English professor who is the heroine of her play WIT — which has won such unanimous critical acclaim in its small Off- Broadway production. Vivian is a 50-year-old scholar who has devoted her life to the study of John Donne's "Holy Sonnets." When we meet her, she is dying of very placement of a comma crystallizing mysteries of life and death for ovarian cancer. Bald from chemotherapy, she makes her entrance clad Vivian and her audience. For this feat, one critic demanded that Ms. Edson in a hospital gown, dragging an IV pole. -
David Mamet's Drama, Glengarry Glen Ross, and Three Iconic Forerunners
Ad Americam. Journal of American Studies 20 (2019): 5-14 ISSN: 1896-9461, https://doi.org/10.12797/AdAmericam.20.2019.20.01 Robert J. Cardullo University of Kurdistan, Hewlêr [email protected] https://orcid.org/0000-0003-0816-9751 The Death of Salesmen: David Mamet’s Drama, Glengarry Glen Ross, and Three Iconic Forerunners This essay places Glengarry Glen Ross in the context of David Mamet’s oeuvre and the whole of American drama, as well as in the context of economic capitalism and even U.S. for- eign policy. The author pays special attention here (for the first time in English-language scholarship) to the subject of salesmen or selling as depicted in Mamet’s drama and earlier in Arthur Miller’s Death of a Salesman, Eugene O’Neill’s The Iceman Cometh, and Tennes- see Williams’ A Streetcar Named Desire—each of which also features a salesman among its characters. Key words: David Mamet; Glengarry Glen Ross; American drama; Selling/salesmanship; Americanism; Death of a Salesman; The Iceman Cometh; A Streetcar Named Desire. Introduction: David Mamet’s Drama This essay will first placeGlengarry Glen Ross (1983) in the context of David Mamet’s oeuvre and then discuss the play in detail, before going on to treat the combined subject of salesmen or selling, economic capitalism, and even U.S. foreign policy as they are depicted or intimated not only in Glengarry but in earlier American drama (a subject previously undiscussed in English-language scholarship). I am thinking here of Arthur Miller’s Death of a Salesman (1949), Eugene O’Neill’s The Iceman Co- meth (1946), and Tennessee Williams’ A Streetcar Named Desire (1947)—each of which also features a salesman among its main characters. -
Tom Stoppard Writer
Tom Stoppard Writer Please send all permissions and press requests to [email protected] Agents St John Donald Associate Agent Jonny Jones [email protected] +44 (0) 20 3214 0928 Anthony Jones Associate Agent Danielle Walker [email protected] +44 (0) 20 3214 0858 Rose Cobbe Assistant Florence Hyde [email protected] +44 (0) 20 3214 0957 Credits Film Production Company Notes United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] ANNA KARENINA Working Title/Universal/Focus Screenplay from the novel by 2012 Features Tolstoy Directed by Joe Wright Produced by Tim Bevan, Paul Webster with Keira Knightley, Jude Law, Aaron Taylor-Johnson *Nominated for Outstanding British Film, BAFTA 2013 ENIGMA Intermedia/Paramount Screenplay from the novel by 2001 Robert Harris Directed by Michael Apted Produced by Mick Jagger, Lorne Michaels with Kate Winslet, Dougray Scott, Saffron Burrows VATEL Legende/Miramax English adaptation 2000 Directed by Roland Joffe Produced by Alain Goldman with Uma Thurman, Gerard Depardieu, Tom Roth United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] SHAKESPEARE IN LOVE Miramax Screenplay from Marc Norman 1998 Directed by John Madden Produced by Donna Gigliotti, David Parfitt, Harvey Weinstein, Edward Zwick with Gwyneth Paltrow and Joseph Fiennes * Winner of a South Bank Show Award for Cinema 2000 * Winner of Best Screenplay, Evening Standard -
Taking on a Hollywood Blockbuster and a Broadway Play, Sienna Miller Gets Ready to Go from It Girl to Hit Girl. by Jonathan Van Meter
purple reign “That’s Sienna Miller?” asked Steven Spielberg after seeing her new film. “Wow, she really pops.” Alexander Wang plum polyamide dress. Regitze Overgaard for Georg Jensen sterling- silver bracelet. Details, seriously see In This Issue. Fashion Editor: sienna Tonne Goodman. Taking on a Hollywood blockbuster and a Broadway play, Sienna Miller gets ready to go from It girl to hit girl. By Jonathan Van Meter. Photographed by Craig McDean. f we were to begin this story in homage to London. I was running away.” Now 27, she’s alluding to the the title of the book Sienna Miller is cur- defining moment of her young life, the Jude Law episode— rently reading, our day together in New “Nannygate,” as she refers to it with genial resignation. She York City might be called Extremely Long laughs and swats the subject away (for now) with a Lucille and Incredibly Fun. But that would be Ball– like crossed roll of the eyes. For many reasons, then, misleading, because spending time with “seeing that film felt like a few steps back.” her feels less like a fanciful passage from a It does not take long, however, for Miller to snap out of her Jonathan Safran Foer novel and more like weird mood, partly because she does not enjoy being ponder- a madcap I Love Lucy episode. ous. But she is also genuinely excited because she is about to Miller in person is tiny, blonde, blue- take two giant steps forward. On August 7, G.I. Joe: The Rise eyed, and, in black jeans with zippers at of Cobra opens: With a nearly $200 million budget, it is by far the ankle and a blue- and- white striped the biggest, most commercial film Miller has done. -
Gary Lineker to Lead a Post-Show Panel for the Red Lion 20-11-17
Gary Lineker to lead a post-show panel for Patrick Marber’s The Red Lion Trafalgar Studios, 14 Whitehall, London SW1A 2DY Wednesday 1st November – Saturday 2nd December 2017 Press Night: Monday 6th November 2017, 7pm Post-show panel: Monday 20th November Retired English footballer and sports broadcaster Gary Lineker OBE will lead an exciting post-show panel on Monday 20th November, discussing the football themes of Patrick Marber’s The Red Lion. Set in the dressing room of a semi-professional football club in the North East, this powerful, funny and touching locker room drama reaches beyond the beautiful game, exploring contrasting ideas about loyalty, ambition and what it takes to win, from the perspectives of three different generations. Lineker comments, I look forward to seeing this new version of The Red Lion at Trafalgar Studios. It’s a premier league play about non-league football and you can join the cast and me for a post-show discussion on the play and the importance of these leagues in the wider game. The Red Lion is hoping to attract new young theatre fans by working with some of London’s major football clubs and inviting players from their Academy and Youth Education programmes to come and see the play. Amy O’Brien, Head of Development at Fulham Football Club Foundation, comments, We’re delighted that our Football & Education participants can take advantage of this opportunity. In addition to football [1] training, the character and social development of our student-athletes is an integral part of our programme, and team building activities such as this add tremendous value. -
By Patrick Marber After Molière
Don Juan in Soho By Patrick Marber After Molière Study Guide Written by Sophie Watkiss Edited by Hannah Clifford Photographs by Hugo Glendenning This programme has been made possible by the generous support of Universal Consolidated Group 1 Contents Section 1: Cast list and creative team 3 Section 2 The authors: Patrick Marber and Molière 5 Section 3 The character of Don Juan in dramatic literature 7 The Trickster of Seville and His Guest of Stone by Tirso de Molina Don Juan or The Stone Feast by Molière Section 4 The Donmar’s production of DON JUAN IN SOHO 9 Patrick Marber‘s response to Molière’s play for a modern audience Approaching the characters in performance Comparing Scenes Soho as a setting Section 5 Further reading, footnotes and bibliography 32 2 section 1 Cast list and creative team Cast: in order of speaking STEPHEN WIGHT – Stan DJ (Don Juan) describes Stan as his ‘accomplice’. He is DJ’s paid employer, whose job it is to ‘enable and facilitate’ DJ’s immoral lifestyle. RICHARD FLOOD - Colm Elvira’s brother, whose mission in the play is to protect the interests of his sister, whom he believes to be ‘a person of great purity, of quality…a colossal human being!’ RHYS IFANS - DJ Is from a very old English family and is set to inherit his father’s Earldom. Is described by Stan as ‘a savage’, ‘a slag’ and ‘a cheating, betraying, lying dog.’ LAURA PYPER - Elvira At the start of the action, Elvira has been married to DJ for just two weeks. -
Download the Press Release
New Work ● Local Talent ● Always Affordable Tickets For Immediate Release Contact: Mike Clary [email protected] 518-267-0683 May 24, 2021 GREAT BARRINGTON PUBLIC THEATER PLANS SUMMER OF HEARTFELT COMEDY, LITERARY DELIGHT AND MASTERFUL SUSPENSE. THREE NEW PLAYS, ON TWO STAGES, PLUS WET INK READINGS AND SOLO PERFORMANCES. From late June to early August, Great Barrington Public Theater will bring a diverse six-weeks to the Daniel Arts Center, at Bard College at Simon’s Rock, Great Barrington. Keeping with the Public’s core mission, the 2021 program spotlights original work and new voices, largely comprised of local area talent. Tickets will remain affordable to all, between $20 and $40. “After several months eagerly looking forward to reopening, we have finalized plans for a powerful trio of fully-staged new plays by well-known and respected writers, featuring many of our most lovable, notable Berkshire actors, along with a selection of captivating solo-artist performances that will delight and surprise everyone,” Artistic Director Jim Frangione said. “As disappointing as the forced hiatus has been, we are all excited to get back into the theater.” “We welcome everyone in the Berkshires and beyond to come out, come back, be safe, comfortable, and join us for an exhilarating and lively summer,” Deann Simmons Halper, Executive Director said. “We’re presenting top-tier new plays and excellent artists to all audiences and looking forward to a rejuvenating season of fantastic theater on two stages.” The Public’s schedule opens at the Daniel Art Center mainstage McConnell Theater, June 24-July 3 with DAD, a poignant, heartfelt and humorous new jewel of a comedy by Mark St. -
Post-Race Ideology and the Poetics of Genre in David Mamet's Race
Katja Kanzler Post-Race Ideology and the Poetics of Genre in David Mamet's Race Abstract: David Mamet's Race is overdetermined by the paratexts hovering around it, most notably the essays in which he publicizes his conservative turn. This textual environment accentuates the text's participation in a contemporary political discourse that social scientists have theorized as post-racialism. But Race accommodates more complex and conflicted meanings: I read the play not so much as an advertisement of post-race ideology but as a text that exposes and deconstructs this ideology. I argue that this layer of meaning is primarily an effect of the legal drama genre on which the text draws. The conventions of the legal drama that Race invokes activate meanings in the text that cannot be fully controlled by the backlash-agenda articulated in the author's essays. Introduction It is not unusual that David Mamet's writing provokes intense responses. Typically designed to be provocative, in terms of their subject matter as well as their language, his plays and movie scripts have often sparked contentious viewing experiences.1 His drama Race, however, which premiered on Broadway in 2009 with a production directed by Mamet himself, seems to have been even more controversially received than usual for the author. Written in the wake of Mamet's much-discussed conservative turn, the play – revolving around a black woman's alleged rape by a white man and the efforts of his lawyers to defend him – was frequently reviewed as exhausting itself in provocative language while advertising the author's recently proclaimed political perspectives. -
PINTER on SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – Curated by Harold Pinter Biographer and Theatre Critic for the Guardian Michael Billington
Tuesday 19 June 2018, London. To mark the 10th anniversary of the death of one of the most important and influential British playwrights of the last century, HAROLD PINTER, BFI Southbank will host a special two month season – PINTER ON SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – curated by Harold Pinter biographer and theatre critic for The Guardian Michael Billington. Best-known for his work as a playwright, PINTER ON SCREEN will celebrate his contribution to film and television, which was extremely significant, not only writing pioneering plays for television, but also for working on scripts for a varied range of landmark films like Joseph Losey’s The Servant (1963), The French Lieutenant’s Woman (Karel Reisz, 1981) starring Meryl Streep and Jeremy Irons, The Comfort of Strangers (Paul Schrader, 1990) and the 1990 adaptation of Margaret Atwood’s still all-too-relevant The Handmaid’s Tale (Volker Schlöndorff). “‘Truth in drama, is forever elusive. You never quite find it, but the search for it is compulsive.’ – Harold Pinter on receiving the Nobel Prize for Literature in 2005. On this statement, and on Pinter, season curator Michael Billington says: “That applies as much to his work for the screen as it does to the stage with which it shares many qualities: a fascination with the private roots of power, an abiding preoccupation with memory and the deceptiveness of language, a belief in the agency of women. Pinter, from his teenage years when he explored the work of Luis Buñuel, Marcel Carné and Jean Vigo, was always passionately in love with cinema and was proud that the majority of his screenplays were filmed. -
Curriculum Vitae
Ginny Schiller CDG 9 Clapton Terrace London E5 9BW Casting Director Tel: 020 8806 5383 Mob: 07970 517667 [email protected] curriculum vitae I am an experienced casting director with nearly 20 years in the industry. My casting career began at the Royal Shakespeare Company in 1997 and I went freelance in 2001. I have collaborated on hundreds of productions with dozens of directors, producers and venues, and although my main focus has always been theatre, I have also cast for television, film, radio and commercials. I have been an in-house casting director for Chichester Festival Theatre, Rose Theatre Kingston, English Touring Theatre and Soho Theatre and returned to the RSC in 2005/6 to lead the casting for the Complete Works Season. I currently work closely with Danny Moar on many of the shows for Theatre Royal Bath Productions and with Laurence Boswell at the Ustinov Studio Theatre. I have cast for independent commercial producers as well as the subsidised sector, for the touring circuit, regional, fringe and West End venues, including the Almeida, Arcola, ATG, Birmingham Rep, Bolton Octagon, Bristol Old Vic, City of London Sinfonia, Clwyd Theatr Cyrmu, Frantic Assembly, Greenwich Theatre, Hampstead Theatre, Headlong, Liverpool Everyman and Playhouse, Lyric Theatre Belfast, Marlowe Studio Canterbury, Menier Chocolate Factory, New Wolsey Ipswich, Norfolk & Norwich Festival, Northampton Royal & Derngate, Oxford Playhouse, Plymouth Theatre Royal and Drum, Regent's Park Open Air Theatre, Shared Experience, Sheffield Crucible, Sonia Friedman Productions, Theatre Royal Haymarket, Touring Consortium, Young Vic, West Yorkshire Playhouse, Yvonne Arnaud and Wilton’s Music Hall. I am currently on the committee of the Casting Directors’ Guild, and actively involved in discussions with Equity regarding the casting process and diversity issues across the media.