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Bringing Richard Brome Online
This is a repository copy of Bringing Richard Brome Online. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/105805/ Version: Published Version Article: Hirsch, BD orcid.org/0000-0002-6231-2080 (2010) Bringing Richard Brome Online. Early Theatre, 13 (1). pp. 137-153. ISSN 1206-9078 10.12745/et.13.1.837 This article is protected by copyright. Reproduced in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early Theatre Volume 13, Issue 1 2010 Article 7 Bringing Richard Brome Online Brett D. Hirsch∗ ∗University of Western Australia, [email protected] Copyright c 2010 by Early Theatre. Early Theatre is produced by The Berkeley Electronic Press (bepress). http://digitalcommons.mcmaster.ca/earlytheatre Bringing Richard Brome Online Brett D. Hirsch Abstract This review essay assesses Richard Brome Online, an online edition of the collected works of Richard Brome, in terms of the design, functionality, and usability of its features. -
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. -
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). -
Complete Production History 2018-2019 SEASON
THEATER EMORY A Complete Production History 2018-2019 SEASON Three Productions in Rotating Repertory The Elaborate Entrance of Chad Deity October 23-24, November 3-4, 8-9 • Written by Kristoffer Diaz • Directed by Lydia Fort A satirical smack-down of culture, stereotypes, and geopolitics set in the world of wrestling entertainment. Mary Gray Munroe Theater We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Südwestafrika, Between the Years 1884-1915 October 25-26, 30-31, November 10-11 • Written by Jackie Sibblies Drury • Directed by Eric J. Little The story of the first genocide of the twentieth century—but whose story is actually being told? Mary Gray Munroe Theater The Moors October 27-28, November 1-2, 6-7 • Written by Jen Silverman • Directed by Matt Huff In this dark comedy, two sisters and a dog dream of love and power on the bleak English moors. Mary Gray Munroe Theater Sara Juli’s Tense Vagina: an actual diagnosis November 29-30 • Written, directed, and performed by Sara Juli Visiting artist Sara Juli presents her solo performance about motherhood. Theater Lab, Schwartz Center for the Performing Arts The Tatischeff Café April 4-14 • Written by John Ammerman • Directed by John Ammerman and Clinton Wade Thorton A comic pantomime tribute to great filmmaker and mime Jacques Tati Mary Gray Munroe Theater 2 2017-2018 SEASON Midnight Pillow September 21 - October 1, 2017 • Inspired by Mary Shelley • Directed by Park Krausen 13 Playwrights, 6 Actors, and a bedroom. What dreams haunt your midnight pillow? Theater Lab, Schwartz Center for the Performing Arts The Anointing of Dracula: A Grand Guignol October 26 - November 5, 2017 • Written and directed by Brent Glenn • Inspired by the works of Bram Stoker and others. -
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. -
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. -
Europe at the Crossroads
Europe at the Crossroads Zinnie Harris’s How to Hold Your Breath Janine HAUTHAL Vrije Universiteit Brussel1 “Where Were All the Plays About Brexit?”2: Europe and/in British Theatre When, on the morning of the 24th of June 2016, it turned out that the majority of the British had voted for ‘Brexit’ in the United Kingdom European Union membership referendum, theatre critic Dominic Cavendish wondered publicly on his twitter account why British theatre had failed to tackle this momentous decision proactively. However, as fellow critic Matt Trueman suggested in response: “We might not have seen Brexit: the Musical – and nor would we want to – but many playwrights have explored the social and political factors that fed into the result” (n. pag.). Indeed, since the 1990s, a number of British plays have been set in or concerned with Europe, and Eastern Europe in particular, as e.g. Caryl Churchill’s Mad Forest (1990), Tariq Ali and Howard Brenton’s Moscow Gold (1990), David Greig’s Europe (1994), Sarah Kane’s Blasted (1995), Timberlake Wertenbaker’s The Break of Day (1995) as well as David Edgar’s trilogy The Shape of the Table (1990), Pentecost (1994), and The Prisoner’s Dilemma (2001) demonstrate. The majority of these plays were premiered between 1990 and 1995, i.e. in the years after the fall of the Berlin Wall, the disintegration of the ‘Eastern bloc’ and the collapse of communism. They are therefore frequently referred to as ‘post-wall plays’.3 Depicting 1 The research for this article was financed by the Research Foundation – Flanders (FWO). -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Unlisted Character: On the Representation of War and Conflict on the Contemporary Stage Julia Boll PhD University of Edinburgh 2011 Abstract The focus of this dissertation is the theatrical representation of both the individual and war in a time of disintegrating national states and the dramatisation of destruction versus survival as the driving forces on stage. In a study on the future of empire it has been observed that instead of progressing into a peaceful future, the 21 st century has slipped back in time into the nightmare of perpetual and indeterminate state of warfare: ceasing to be the exceptional state, war has become 'the primary organising principle of society', thus echoing Giorgio Agamben's declaration that the state of exception has become the status quo. -
'Analysing Plays in the Twenty-First Century: a Critical Conversation
1 ‘Analysing Plays in the Twenty-First Century: A Critical Conversation’ Centre for Contemporary British Theatre, Royal Holloway Friday 5 July 2019, 9.30am-5pm Room 154 (ground floor), Richard Hoggart Building, Goldsmith’s College 9.30-10am: Arrive and refreshments 10-10.30am: Welcome and Introduction: Lynette Goddard (Royal Holloway) and Chris Megson (Royal Holloway) 10.30-11.15am: Keynote 1: Marissia Fragkou (Canterbury Christ Church University) ‘Reading Plays for the Contemporary Moment: Precarity, Ecology and Strangeness’ In her fascinating short essay ‘EF’s visit to a Small Planet: Some Questions to Ask a Play’ (1994), Elinor Fuchs reads plays as small ecologies by comparing them to strange planets; in order to discover the world of the play including its inhabitants, Fuchs argues, we first need to ask questions about the habitat that surrounds them. Revisiting Fuchs’s ecological approach, this paper will explore the ecological dimensions of studying plays for the present moment against the backdrop of spiralling risk and uncertainty; I am particularly interested in the value of pedagogies of risk and precarity in the context of the current Higher Education landscape and their relevance for play analysis. To this end, I will be partly drawing on Ronald Barnett’s conceptualization of the ‘ecological university’. For Barnett, ‘the ecological university will draw students into a pedagogy of strangeness or of risk, for it is such pedagogies that are likely to extend students so that they may be able to meet the challenges, conceptual, ethical and technological that the twenty-first century will assuredly face them with’ (2017: 149). -
Discover.Read.Study.Perform
Discover.Read.Study.Perform. Samuel Adamson April De Angelis Alan Ayckbourn Peter Barnes — A complete digital library of — J.M Barrie Sebastian Barry Mike Bartlett Aphra Behn Alan Ben- nett Steven Berkoff BertoltTHE Brecht MOST Howard Brenton Edward Bond Dion BoucicaultSTUDIED, Georg Buchner PERFORMED Gregory Burke Lucy Caldwell Marina Carr Matt Charman& CRITICALLY Anton Chekhov Caryl Churchill Noël Coward Nick DearACCLAIMED Thomas Dekker John PLAYS Donnelly John Dryden David Eldridge George Farquhar— from the last Eduardo 2,500 years — De Filippo John Fletcher John Ford Brian Friel Peter Gill James Graham David Greig Katori Hall Christopher Hampton David Hare Zinnie Harris Tony Har- rison David Harrower Jonathan Harvey Henrik Ibsen Charlotte laUNCHING Keatley Thomas Kyd D. C. Jackson BenSPRING Jonson 2013 Rebecca Lenkie- wicz Neil LaBute Anders Lustgarten Christopher Marlowe John Marston Frank McGuinness Thomas Middleton D.C. Moore Tom Murphy Phyllis‘Drama NagyOnline blazes Anthony the trail for aNeilson new era of digital Peter theatre Nichols publishing.’ Joe Orton John Osborne Joe Penhall— dr chris MeGson, Luigi royaL hoLLoway, Pirandello universiTy of London Terry Pratchett Lucy To be kept informed about drama Online trials, subscription rates and Prebble Philip Ridleycontent, Willy register Russell at www.dramaonlinelibrary.com William Shakespeare Bernard Shaw Martin Sherman Christopher Shinn Sophocles Tom Stop- pard Mark Ravenhill Richard foLLow us onBrinsley TwiTTer aT @draMaonLineLiB Sheridan N. F. Simpson Nick Staff ord Polly Stenham Simona new ParTnershiPStephens froM: Shelagh Stephenson Au- gust Strindberg Theatre de Complicité Frank Wedekind Timberlake Wertenbaker Arnold Wesker Roy Williams Oscar Wilde Michael AVAILABLE IN EARLY 2013, Drama Online is the ultimate online resource for plays, critical analysis and performance for libraries, educators, students and researchers. -
Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome
Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome By Cristina Paravano Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome By Cristina Paravano This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Cristina Paravano All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0593-6 ISBN (13): 978-1-5275-0593-3 CONTENTS Acknowledgments ..................................................................................... vii Quotations, Abbreviations and Conventions .............................................. ix Introduction ................................................................................................. 1 Through the Prism of Multilingualism Chapter One ............................................................................................... 19 ‟There’s too much French in town”: The New Academy and The Demoiselle Chapter Two .............................................................................................. 37 ‟Simile non est idem”: The City Wit and -
Frankenstein by Nick Dear from the Novel by Mary Shelley
MEDIA CONTACT: Bernie Fabig, Marketing & Publicity Manager 310-756-2428 • [email protected] The first production of A Noise Within’s 2019-2020 Season: THEY PLAYED WITH FIRE Frankenstein By Nick Dear From the novel by Mary Shelley Directed by Michael Michetti Aug. 11 – Sept. 8, 2019 (Press Opening Weekend – Aug. 17 & 18) Pasadena, Calif. (July 17, 2019) – A Noise Within (ANW), California’s acclaimed classic repertory theatre company, is proud to announce the California Premiere of Nick Dear’s Frankenstein, directed by Michael Michetti and adapted from the original novel by Mary Shelley. The first play of ANW’s 2019-2020 season, THEY PLAYED WITH FIRE, will run as a stand-alone production from Aug. 11 through Sept. 8, 2019. An instant international sensation, Frankenstein was first captured live in 2011 on London’s National Theatre stage in celebration of the novel’s 200th anniversary. Distributed to cinemas across the globe, the original production was directed by Academy Award®-winner Danny Boyle and starred Benedict Cumberbatch alternating between the roles of Dr. Victor Frankenstein and the Creature. There will be press performances on Saturday, Aug. 17 at 8 p.m. and Sunday, Aug. 18 at 2 p.m. This electrifying tale of a creature cast away by his creator into a hostile world—only to wind his way back in a dangerous game of destruction—has captivated audiences for over 200 years. The gothic story comes to life with Nick Dear’s adaptation of the chilling fable by Mary Shelley, animating the themes of social rejection, intellectual hubris, and the nascency of good and evil.