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American Players Theatre Production History
American Players Theatre Production History 1980 A Midsummer Night's Dream by William Shakespeare Directed by Anne Occhiogrosso & Ed Berkeley Titus Andronicus by William Shakespeare Directed by Ed Berkeley 1981 King John by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks The Comedy of Errors by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks The Two Gentleman of Verona by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks A Midsummer Night's Dream by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks Titus Andronicus by William Shakespeare Directed by Anne Occhiogrosso & Mik Derks 1982 Romeo & Juliet by William Shakespeare Directed by Fred Ollerman & Mik Derks Titus Andronicus by William Shakespeare Directed by Mik Derks The Comedy of Errors by William Shakespeare Directed by Fred Ollerman & Mik Derks The Taming of the Shrew by William Shakespeare Directed by Fred Ollerman & Mik Derks The Two Gentleman of Verona by William Shakespeare Directed by Fred Ollerman A Midsummer Night's Dream by William Shakespeare Directed by Anne Occhiogrosso & Sandra Reigel-Ernst 1983 Romeo & Juliet by William Shakespeare Directed by Mik Derks Tamburlaine the Great by Christopher Marlowe Directed by Mik Derks Love's Labour's Lost by William Shakespeare Directed by Fred Ollerman The Taming of the Shrew by William Shakespeare Directed by Fred Ollerman A Midsummer Night's Dream by William Shakespeare Directed by Anne Occhiogrosso 1984 Romeo & Juliet by William Shakespeare Directed by Anne Occhiogrosso & Randall -
Performing Othello in South Africa Natasha Distiller
Authentic Protest, Authentic Shakespeare, Authentic Africans: Performing Othello in South Africa Natasha Distiller ugh Quarshie famously declared Othello a play that black actors Hshould avoid: “If a black actor plays Othello does he not risk making racial stereotypes seem legitimate… namely that black men… are over- emotional, excitable and unstable?”1 Ben Okri, referencing the reception of Shakespeare’s tragedy by critics and audiences,2 said that if Othello were not originally a play about race (as indeed it was not in the modern sense of the term), its history has made it one.3 By now, Othello both invokes and confounds modern notions of race and racial difference, speaking powerfully to the long history of misogyny it has facilitated.4 The play also points to the ways in which race and gender are imbricated in one another and co-depend.5 The meaning of Desdemona’s whiteness and femininity depend on each other, as do Othello’s blackness and masculinity. As Celia Daileader has pointed out, Desdemona’s punishment for being an unruly woman is symbolized by and through Othello’s racial identity.6 One might say that Othello both is and is not about race and racial difference, a play that invokes a relation between gender and the range of human cultures, religions, civic belongings, and/or appearances that we now encode as “race.” Whichever ideological frame one chooses to read through (an early modern construction of Moorishness, a postmodern antiracism, a feminist awareness of domestic violence, a combination of these, or any of the other possible lenses one could apply), to understand the play one must recognize the ways it explores the experience of difference as emotionally fraught at best, potentially dangerous at worst. -
Having a Gay Old Time: Lesbian Film-Maker Shamim Sarif | Film | Guardian.Co.Uk
7/2/12 Having a gay old time: lesbian film-maker Shamim Sarif | Film | guardian.co.uk Having a gay old time Novelist turned film-maker Shamim Sarif has two films, both based on her books, coming out tomorrow. She tells Rachael Scott how this one-two punch came about Rachael Scott guardian.co.uk, Thursday 2 April 2009 16.19 BST Unusual routes ... scene from The World Unseen Having two of your novels turned into films is remarkable. Seeing both films released on the same day is amazing. That they're cross-cultural, lesbian, romantic dramas makes it extraordinary. The World Unseen But such is the experience of novelist turned film-maker Production year: Shamim Sarif. The World Unseen, which opens tomorrow, is a 2007 Countries: Rest of the poetic love story about two Indian women in 1950s South Africa; world, UK the other film, I Can't Think Straight, is a contemporary love Cert (UK): 12A Runtime: 110 mins story involving a Palestinian Christian and an Indian Muslim. Directors: Shamim Sarif Both star one-time Bollywood actor Lisa Ray alongside Cast: David Dennis, American-born Sheetal Sheth. Lisa Ray, Nandana Sen, Parvin Dabas, Sheetal Sheth So when only three lesbian-themed films were given a theatrical More on this film release in the UK last year, how did Sarif manage to get both of hers into cinemas at exactly the same time? "Pure determination," she says. Being a gay, British-born Indian Muslim, she says, has far from hindered her career – if anything her race and sexuality equipped her with the drive and conviction needed to succeed the industry. -
Exploring Films About Ethical Leadership: Can Lessons Be Learned?
EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging. -
English 2080 S 19 Viewing Questions on the Twoothellos
English 2080 S 19 Viewing Questions on the twoOthellos As usual, the schedule is asking you to do several things at once — to view two productions of Othello while we read and explore the play in class — and a few notes and focusing questions may help us approach the modern performances. • Here are minimal credits for the two productions (more at http://us.imdb.com/): Othello (Royal Shakespeare Company, 1989, at Stratford’s Other Place); dir. Trevor Nunn, with Willard White (Othello), Imogen Stubbs (Desdemona), Ian McKellen (Iago), Sean Baker (Cassio), Zoe Wanamaker (Emilia), and Michael Grandage (Roderigo). ☛ Virginia Vaughan's "An Othello for the 1990s" (scholium 10 on our website) comments briefly on this production. Othello (Market Theatre, Johannesburg, 1987), dir. Janet Suzman, with John Kani (Othello), Joanna Weinberg (Desdemona), Richard Haddon Haines (Iago), Neal McCarthy (Cassio), Dorothy Gold (Emilia), and Frantz Dobrowsky (Roderigo). ☛ Suzman's "South Africa in Othello" (1998), on BB, serves an extended program note for this production; it is an essay in which she explains and defends decisions made in staging the play in an unusual venue. Like those decisions, it is not uncontroversial. • Mise-en-scène, the "putting in view" of the action. Both films work chiefly in stage rather than cinema mode: what conventions prevail here, and what narrative and dramatic opportunities offered by cinema are unavailable? (In fact, each is a bit of a hybrid: is there a single indicated audience perspective in either or both? Does either use -
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. -
Uk Films for Sale Efm 2017
UK FILMS FOR SALE EFM 2017 UK FILM CENTRE, STAND 39, EUROPEAN FILM MARKET, MARTIN-GROPIUS-BAU, NIEDERKIRCHNER STR 7, 10785 BERLIN weareukfilm.com @weareukfilm 10X10 TAltitude Film Sales Cast: Luke Evans, Kelly Reilly Charlie Kemball +49 30 206033 401 Genre: Thriller [email protected] Director: Suzi Ewing Market Office: MGB # 132 Status: Production Home Office tel: +44 20 7478 7612 Synopsis: After meticulous planning and preparation, Lewis snatches Cathy off the busy streets and locks her away in a soundproofed room measuring 10 feet by 10 feet. His motive - to have Cathy confess to a dark secret that she is determined to keep hidden. But, Cathy has no intention of giving up so easily. 47 Meters Down TAltitude Film Sales Cast: Claire Holt, Mandy Moore, Matthew Modine Charlie Kemball +49 30 206033 401 Genre: Thriller [email protected] Director: Johannes Roberts Market Office: MGB # 132 Status: Completed Home Office tel: +44 20 7478 7612 Synopsis: Twenty-something sisters Kate and Lisa are gorgeous, fun-loving and ready for the holiday of a lifetime in Mexico. When the opportunity to go cage diving to view Great White sharks presents itself, thrill-seeking Kate jumps at the chance while Lisa takes some convincing. After some not so gentle persuading, Lisa finally agrees and the girls soon find themselves two hours off the coast of Huatulco and about to come face to face with nature's fiercest predator. But what should have been the trip to end all trips soon becomes a living nightmare when the shark cage breaks free from their boat, sinks and they find themselves trapped at the bottom of the ocean. -
Language Skills Book English Elective CBSE Class
CBSE CLASS XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110 301 India CBSE CLASS XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110 301 India Language Skills Book - English Elective CBSE PRICE: ` First Edition 2014, CBSE, India Copies: This book or part thereof may not be reproduced by any person or agency in any manner. Published By : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 Design, Layout : Multi Graphics, 8A/101, W.E.A. Karol Bagh, New Delhi-110005 • Phone: 011-25783846 Printed By : Hkkjr dk lafo/ku mísf'kdk ge] Hkkjr ds yksx] Hkkjr dks ,d lEiw.kZ 1izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kkRed x.kjkT; cukus ds fy,] rFkk mlds leLr ukxfjdksa dks% lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /eZ vkSj mikluk dh Lora=krk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek 2vkSj jk"Vª dh ,drk vkSj v[kaMrk lqfuf'pr djus okyh ca/qrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/ku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/ku dks vaxhÑr] vf/fu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/ku (c;kyhloka la'kks/u) vf/fu;e] 1976 dh /kjk 2 }kjk (3-1-1977) ls ¶izHkqRo&laiUu yksdra=kkRed x.kjkT;¸ ds LFkku ij izfrLFkkfirA 2- lafo/ku (c;kyhloka la'kks/u) vf/fu;e] 1976 dh /kjk 2 }kjk (3-1-1977) ls ¶jk"Vª dh ,drk¸ ds LFkku ij izfrLFkkfirA Hkkx 4 d ewy dÙkZO; 51 d- ewy dÙkZO; & Hkkjr ds izR;sd ukxfjd dk ;g dÙkZO; gksxk fd og & (d) -
Some Thoughts Surrounding 2016Production of the Tempest
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Some thoughts surrounding 2016 production of The Tempest UMEMIYA Yu The following note shows the result of an on going research on the play by William Shakespeare: The Tempest. The 2016 production at the Royal Shakespeare Company (RSC), one of the leading theatre companies in England, demonstrated another innovative version of the play on their main stage in Stratford-upon-Avon, followed by its tour down to Barbican theatre in London in 2017. It did not include an extraordinary interpretation or unique casting pattern but demonstrated the extended development of technology available on stage. This note introduces the feature and the reception of the production in the latter half, with a brief summary of the play and a survey of the performance history of The Tempest in the first half. The story of The Tempest Compared to other plays by Shakespeare, The Tempest is a rare example that follows the classical idea of three unities of time, place and action, deriving from 1 Aristotle, then prescribed by Philip Sydney in Renaissance England . The similar 2 structure has already practiced in The Comedy of Errors in 1594 , but while this early comedy is often described as a simple farce, The Tempest contains various complications in terms of plots and theatrical possibilities. The story of The Tempest opens with a storm at sea, conjured by the magic of Prospero, the main character of the play. He is manipulating the tempest from the 一二七nearby island where he lives with his daughter, Miranda, and shares the land with two other fantastic creatures, Ariel and Caliban. -
2008 Year in Review: Movies | Afterellen.Com
2008 Year in Review: Movies | AfterEllen.com Welcome to AfterEllen.com! Like 17k Follow @afterellen LOGIN | JOIN NOW! AFTERELLEN.COM TV MOVIES PEOPLE COLUMNS MUSIC VIDEO COMMUNITY LADY KNIGHTS IN SHINING ARMOR WEB Home » 2008 Year in Review: Movies Posted by AfterEllen.com Staff on December 15, 2008 Tweet Like 0 RECENT COMMENTS I might watch American Horror Posted by Mary 2008 will always be known as an historic year — for the passing of gay marriage laws in two About: Afternoon Delight: Clea DuVall joins "American Horror Story," Ellen DeGeneres on self-acceptance states (and the tragic reduction of those rights in four), for the election of the nation’s first (5) president of color, and for the downturn of the economy. Oy! Years from now, when we talk about 2008, it’s likely that we’ll be discussing these events, Posted by Bisera rather than any specific lesbian film that came out. About: Feminist Friday: The World’s Worst Excuse for Not Lezzing Out (4) But that doesn’t mean it wasn’t a banner year for lesbian cinema. While there were still extremely few mainstream movies with notable lesbian/bi characters, the She's weird and badass Posted by Ms Mae overall quality of representation was decidedly — and dramatically — on the rise. About: Lana Del Rey goes gay for Jaime King in her 2008 saw an encouraging dearth of murderous, victimized or man-hating lesbian characters in new music video (12) any level of production (from smaller indie flicks to big-budget movies). LINDA PERRY??? Women of color were better represented than in many years past, gross stereotypes were Posted by Woobert avoided, and new talents emerged. -
Quest Vol 17 Issue 7
MARQUETTE WITHDRAWS OFFER TO LESBIAN DEAN CANDIDATE SPARKING OUTRAGE AND CONTROVERSY Milwaukee - Thursday, May 6 both the Seattle warranted.” As a result of this search they will now rescind the offer. A key factor may have been indi - Times and The Milwaukee Journal/Sentinal reported revise some aspects of their search process. viduals outside the university. A transcript of a video a lesbian scholar who has published works on gen - Marquette spokeswoman Mary Pat Pfeil stated of Father Wild quotes,” I want to say strongly, clearly der and sexual orientation will no longer be offered the decision to withdraw an offer to hire professor and directly what this decision is not about. It is not a job as dean for the college of arts and sciences. O’Brien wasn’t about her sexual orientation or the about sexual identity. That’s important to say.” “We Seattle University professor Jodi O’Brien has written quality of her scholarship. It did have to do with have a variety of men and women here who are ho - scholarly works on gender and sexual orientation. some of O’Brien’s published writings “relating to mosexual who work in all sorts of venues at this uni - The rescinded offer has sparked criticism from fac - Catholic mission and identity,” versity, holding a variety of positions. They do great ulty and a protest by students. Faculty members are raising concerns about ac - work. They make a variety of contributions to this Marquette University stated in an official news ademic freedom. They accuse the school of being university. -
Simply Sheetal
Cover SIMPLY SHEETAL by Jaya Sharma heetal Sheth, grew up in and around the New Jersey city, burst onto the scene with raves in her debut role, in the movie SABCD (1999) - a the role was demanding but guaranteed that she would be remembered. Sheetal acted as a promiscuous young girl struggling with the ties of family and tradition. She discovered her passion for acting in high school and enrolled in the Tisch School of the Arts at New York University. After supplementing her education with a summer in Amsterdam as part of the intensive, International Theatre Workshop studying under renowned acting teachers like Kristin Linklater, she graduated with honours. After this, Sheetal has developed a reputation as a thorough professional with an unmatched work ethic. She has starred in many feature films and has become a favorite on the festival circuit, having won many Best Actress Awards. Sheetal continues to tackle a wide range of roles and has developed an impressive body of work with an array of challenging and memorable characters in film, television, and theater. www.page7seven.com | PAGE7SEVEN JUNE 2011| 7 Excerpts from the interview with Sheetal Sheth How were your growing/formative years— where you grew up, what interested you as a kid, what kind of influences affected you as a child 1that contributed to your becoming an artist I was born in Phillipsburg, New Jersey and then moved to Bethlehem, PA when I was 12. My older sister, younger brother, and I are first generation Indian Americans who were raised by parents who stressed the importance of education and community.