Rime of the Ancient Mariner
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Il Bell'antonio, Di Mauro Bolognini in Versione Restaurata
COMUNICATO STAMPA 22-11-2017 Torna sul grande schermo Il bell'Antonio, di Mauro Bolognini in versione restaurata Sabato 25 novembre, ore 20.30 Cinema La Compagnia (via Cavour 50/r, Firenze) Film cult in bianco e nero del 1960, con due protagonisti d'eccezione, Marcello Mastroianni e Claudia Cardinale, Il bell'Antonio, del regista pistoiese Mauro Bolognini, sceneggiato da Pier Paolo Pasolini e Gino Visentini, torna sul grande schermo in versione restaurata. L'evento si terrà al cinema La Compagnia (via Cavour 50/r, Firenze) sabato 25 novembre (ore 20.30) e sarà accompagnato dall'esposizione, nel foyer della sala, del costume di scena indossato da Claudia Cardinale, disegnato dal custume designer Premio Oscar Piero Tosi e messo a disposizione da Anna Mode. Un restauro complesso, che ha previsto una digitalizzazione in 4K della pellicola originale su iniziativa delle due società comproprietarie del film, Compass Film e Cinématographique Lyre (che era anche uno dei coproduttori originali), con l'appoggio finanziario del CNC (Centre national du cinéma et de l'image animée) di Parigi, dell’Istituto Luce-Cinecittà, nonché della Fondazione Cassa di Risparmio di Pistoia e Pescia. Un'operazione che ha previsto un investimento di oltre 150.000 euro. Ad organizzare l'evento del 25 novembre, in collaborazione con Fondazione Sistema Toscana e Institut Français Firenze, è il Centro Mauro Bolognini di Pistoia, presieduto da Roberto Cadonici, che nella città natale del regista propone una serie di eventi che si inseriscono nel programma di 'Pistoia Capitale della Cultura 2017', tra cui la presentazione di un libro interamente dedicato alla storia e all'analisi di questo film e la riproposizione di Giovani mariti, altro titolo di Mauro Bolognini. -
The Waste Land: a Personal Grouse
The Waste Land: A Personal Grouse Leon Surette University of Western Ontario Eliot¶s Waste Land must be the most discussed and analyzed poem of its length in the language, yet, for all that, it is perhaps still the most contested of all poems firmly ensconced in the canon. Initially receivedat least by its boostersas an articulation of the alienation, disillusion and scepticism of the young twentieth century, it has since been attacked from many anglesas reactionary, mystical, homosexual, anti-Semitic, elitist, phallocentric andperhaps most damaginglyas a con. The last criticism comes from the rather acid pen of Lawrence Rainey, who denounces the whole of Modernist art DV OLWWOH PRUH WKDQ ³D VWUDWHJ\ ZKHUHE\ WKH ZRUN of art invites and solicits its cRPPRGLILFDWLRQ´ (3).1 The Waste Land, Rainey says, was ³DQ HIIRUW WR DIILUP the output of a specific marketing-publicity apparatus through the enactment of a triumphal and triumphant occasion´ 7KHUHLVQRGRXEWWKDWWKHSXEOLFDWLRQRIThe Waste Land was orchestrated by Eliot, Pound, and Eliot¶s Harvard friend, Schofield Thayer, co-editor of The Dial, but if we are to condemn all artworks whose creators indulged in self promotion, the canon would shrink radically. Of course, the poem has its defendersindeed, they are legion; however, few any longer defend the poem¶V ³P\WKLFDO PHWKRG´DIHature emphasized by early boosters and by Eliot himself. 5RQDOG %XVK IRU H[DPSOH GLVPLVVHV WKH ³)UD]HU DQG :HVWRQ LPDJHU\´DV³VXSHULPSRVHGSLHFHPHDORQWRVHFWLRQVWKDWKDGEHHQ ZULWWHQHDUOLHU´an assessment with which it is difficult to disagree. +RZHYHUKHJRHVRQWRVXUPLVH³WKDW(OLRWKDGVRPHNLQGRIVKRUW- lived religious illumination during the process of re-envisioning the IUDJPHQWVRIKLVSRHP´ WKHUHE\SURVSHFWLYHO\GHIHQGLQJLWIURP Rainey¶s accusations of manipulative career buildingwhich it certainly was. -
V&A to Open New Theatre and Performance Galleries Opening 18
V&A to open new Theatre and Performance Galleries Opening 18 March 2009 The V&A’s Theatre and Performance Galleries will open in March 2009 exploring all performance types from theatre and ballet to pantomime and rock music. More than 250 objects from the V&A’s collections will be on display including a first folio of Shakespeare's plays compiled in 1623, costumes and sets from award winning productions, a guitar Pete Townshend smashed during a 1970s performance with The Who and the original 1957 poster for Look Back in Anger at the Royal Court. Specially commissioned films of playwrights, directors and actors will include interviews with Michael Frayn and Sir Peter Hall. The new galleries will present the collections in a fresh way, focusing on the process of production and performance from initial conception and design to opening night. Set models, stage props, costumes, original posters, paintings and photographs will be on show, representing live performance in Britain over the last 350 years. Original scores, documents and manuscripts will include the only known Handel promptbook produced during his lifetime (1720), the score for Jesus Christ Superstar (1971) marked with alterations made by the conductor during rehearsals and an early draft manuscript of Sheridan’s The School for Scandal (1777). The pages of each will be digitised to allow visitors to explore the texts in detail. A large section on costume design will feature garments worn on stage by leading actors such as Richard Burton as Henry V (Old Vic, 1955) and Laurence Olivier in Oedipus Rex (Old Vic, 1945) as well as musical performers including Jimmy Page and Brian Eno. -
Poetics and the Waste Land
Poetics and The Waste Land Subjects, Objects and the “Poem Including History” Wassim Rustom A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo In Partial Fulfilment of the Requirements for the MA Degree May 2016 Poetics and The Waste Land Subjects, Objects and the “Poem Including History” Wassim Rustom © Wassim Rustom 2016 Poetics and The Waste Land: Subjects, Objects and the “Poem Including History” Wassim Rustom http://www.duo.uio.no Abstract The aim of this thesis is to trace key elements of the poetics that produced The Waste Land, T. S. Eliot’s landmark work of modernist poetry. Part I of the thesis examines the development of the Hulme-Pound-Eliot strand of modernist poetry through a focus on the question of subjectivity and the relationship between philosophical-epistemological ideas and modernist poetics. It traces a movement from a poetic approach centred on the individual consciousness towards one that aims to incorporate multiple subjectivities. Part II offers a complementary account of Eliot’s shift towards a more expansive scope of subject matter and of the fragmented poetic structure of The Waste Land. The argument is based on Jacques Rancière’s analysis of the modern regime of poetics dominant in the West since the Romantics, which identifies “literature” with the “life of a people” and is characterized by an inclusive logic that poeticizes ordinary subjects, objects and fragments. To my parents Contents Introduction.........................................................................................................................1 Part I 1 Early Modernism and Turn-of-the-century Philosophy: Subjectivity and Objectivity...9 1.1 Subjectivity and Narrative Technique................................................................................ -
June 17 – Jan 18 How to Book the Plays
June 17 – Jan 18 How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm Saint George and Network Pinocchio for the following week’s performances. the Dragon 4 Nov – 24 Mar 1 Dec – 7 Apr Day Tickets 4 Oct – 2 Dec £18 / £15 tickets available in person on the day of the performance. No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Access symbols used in this brochure CAP Captioned AD Audio-Described TT Touch Tour Relaxed Performance Beginning Follies Jane Eyre 5 Oct – 14 Nov 22 Aug – 3 Jan 26 Sep – 21 Oct TRAVELEX £15 TICKETS The National Theatre Partner for Innovation Partner for Learning Sponsored by in partnership with Partner for Connectivity Outdoor Media Partner Official Airline Official Hotel Partner Oslo Common The Majority 5 – 23 Sep 30 May – 5 Aug 11 – 28 Aug Workshops Partner The National Theatre’s Supporter for new writing Pouring Partner International Hotel Partner Image Partner for Lighting and Energy Sponsor of NT Live in the UK TBC Angels in America Mosquitoes Amadeus Playing until 19 Aug 18 July – 28 Sep Playing from 11 Jan 2 3 OCTOBER Wed 4 7.30 Thu 5 7.30 Fri 6 7.30 A folk tale for an Sat 7 7.30 Saint George and Mon 9 7.30 uneasy nation. -
The Age of Innocence Showcase Tribute to Claudia Cardinale
PRESS RELEASE The age of innocence showcase Tribute to Claudia Cardinale From Monday 5 to Monday 26 March 2018, 3.30 p.m. “Mario Gromo” Library/Mediatheque – Events Room - Via Matilde Serao 8/A, Turin tel. +39 011 8138 599 - email: [email protected] Following the success of the showcases offered by the Mario Gromo Library/Mediatheque over the past months, in March it is the turn of a tribute to one of the most representative and beloved Italian actresses: Claudia Cardinale. Focusing on the time span between 1959 and 1961, during which the actress shot a good 15 films, The age of innocence. Tribute to Claudia Cardinale is proposing a significant selection of titles which illustrate this thespian’s maturity well and her sensitive capability for offering intensely dramatic introspective characters. Fragility and determination, naiveté and innocence, awareness and disenchantment are the emotional and- personality traits that young Cardinale – provided with charm, allure and a natural, luminous beauty – expresses in this first phase of her long and fortunate career. Extraordinarily photogenic, the actress imposed herself at the beginning of the Sixties as a new female diva model in Italian cinema, working with some of the most important authors of that period, who found a degree of expressiveness that was both sunny and enigmatic in her person, capable of expressing the establishment of a new, signally modern type of woman. The showcase will be inaugurated by the screening of Vento del sud, the only film by Enzo Provenzale (a trusted collaborator of Francesco Rosi), in which Cardinale plays the role of an aristocratic and unhappy Sicilian scion. -
The Sleeping Beauty
THE ROYAL BALLET APPROXIMATE TIMINGS DIRECTOR KEVIN O’HARE FOUNDER DAME NINETTE DE VALOIS om ch db e Live cinema relay begins at 7.15pm FOUNDER CHOREOGRAPHER Introduced by Darcey Bussell SIR FREDERICK ASHTON om ch cb e FOUNDER MUSIC DIRECTOR CONSTANT LAMBERT Prologue 33 minutes PRIMA BALLERINA ASSOLUTA Cinema interval DAME MARGOT FONTEYN db e Act I 31 minutes Cinema interval Acts II and III 70 minutes The performance will end at approximately 10.30pm THE SLEEPING Tweet your thoughts about tonight’s performance before it starts, during the interval or afterwards with #ROHbeauty BEAUTY BALLET IN A PROLOGUE AND THREE ACTS 2013/14 LIVE CINEMA SEASON THE WINTER’S TALE MONDAY 28 APRIL 2014 CHOREOGRAPHY MARIUS PETIPA ADDITIONAL CHOREOGRAPHY FREDERICK ASHTON, MANON LESCAUT TUESDAY 24 JUNE 2014 ANTHONY DOWELL, CHRISTOPHER WHEELDON MUSIC PYOTR IL’YICH TCHAIKOVSKY PRODUCTION MONICA MASON AND CHRISTOPHER NEWTON AFTER NINETTE DE VALOIS AND NICHOLAS SERGEYEV ROYAL OPERA HOUSE GUIDE TO ORIGINAL DESIGNS OLIVER MESSEL THE SLEEPING BEAUTY ADDITIONAL DESIGNS PETER FARMER LIGHTING DESIGN MARK JONATHAN Royal Opera House Guides contain specially selected films, STAGING CHRISTOPHER CARR articles, pictures, updates and exclusives to bring you closer to BALLET MASTER GARY AVIS the production. By purchasing your digital guide you can explore BALLET MISTRESS SAMANTHA RAINE the background to The Sleeping Beauty, the history of The Royal PRINCIPAL COACHING ALEXANDER AGADZHANOV, LESLEY COLLIER, JONATHAN COPE, MONICA MASON, CHRISTOPHER NEWTON Ballet’s production and -
Mauro Bolognini
Biblioteca Civica “U. Pozzoli” di Lecco Ogni fine settimana uno scrittore, un regista, un attore, un poeta La proposta di questa settimana è Biblioteca civica “U. Pozzoli” di Lecco Incontro con MAURO BOLOGNINI NOTIZIE BIOGRAFICHE Studia architettura e consegue la laurea a Firenze, prima di passare al Centro Sperimentale di Cinematografia di Roma, dove frequenta i corsi di scenografia. Diplomatosi, si orienta verso la regia e affina il mestiere facendo l'aiuto di Luigi Zampa e poi, in Francia, di Yves Allégret e Jean Delannoy. Inizia l'attività registica segnalandosi tra il 1955 e il 1958 con bozzetti di un tardo neorealismo. L'incontro con Pasolini sceneggiatore gli apre la strada a maggiori ambizioni con film come ‘La notte brava’ (1959), ‘Il bell'Antonio’ (1960), ‘La giornata balorda’ (1960), anche se l'impegno letterario si stempera poi spesso in gusto calligrafico con ‘Senilità’ (1962), ‘Agostino’ (1962), ‘Bubù’ (1971), ‘Per le antiche scale’ (1975), ‘L'eredità Ferramonti’(1976). All'atmosfera in costume e al clima pittorico toscano del suo film ‘La viaccia’ (1961) che è forse il suo capolavoro, si riallaccia nel 1970 con ‘Metello’, dove la struttura storico-sociale del romanzo di Pratolini gli consente un'evocazione equilibrata e solida. Tra gli altri suoi film si ricordano: ‘Imputazione di omicidio per uno studente’ (1972), ‘Libera, amore mio!’ (1973), pellicola subito ritirata per problemi politici, ‘Fatti di gente perbene’ (1974), ‘La storia vera della signora dalle camelie’ (1981), ‘La venexiana’ (1986), ‘Mosca addio’ (1987) e ‘La villa del venerdì’(1991). Fin dai primi anni settanta Bolognini si è dedicato anche a varie regie liriche, fra le quali Norma di Bellini al Teatro alla Scala di Milano (1972), per la stessa opera al Teatro Bolshoi di Mosca, La fanciulla del West di Puccini all'Opera di Roma, Aida al Teatro La Fenice di Venezia (1978), o Pollicino di Hans Werner Henze (1995) al Teatro Poliziano di Montepulciano. -
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. -
PEAK Richard Alston Dance Company Large Print.Indd
Richard Alston Dance Company Photo by Chris Nash February 20 I 21 I 22 I 23, 2020 Alexander Kasser Theater Dr. Susan A. Cole, President Daniel Gurskis, Dean, College of the Arts Jedediah Wheeler, Executive Director, Arts + Cultural Programming Richard Alston Dance Company Artistic Director Sir Richard Alston CBE Executive Director Isabel Tamen Associate Choreographer /Rehearsal Director Martin Lawrance Touring Administrator Rebecca Staple Production Manager Kieran Enticknap Lighting Designer/Technical Manager Zeynep Kepekli Sound Engineer Mark Webber Wardrobe Supervisor Inca Jaakson Dancers Elly Braund, Joshua Harriette, Jennifer Hayes, Monique Jonas, Nahum McLean, Nicholas Shikkis, Jason Tucker, Ellen Yilma, Niall Egan, Alejandra Gissler Program Voices and Light Footsteps (US Premiere) Choreography Richard Alston Music Claudio Monteverdi Lighting Martin Lawrance Costumes Peter Todd Music and Dancers: Sinfonia (instrumental) Joshua Harriette Zefiro Torna (madrigal for two tenors) Joshua Harriette, Nicholas Shikkis, Nahum McLean, Jason Tucker, Ellen Yilma, Monique Jonas, Jennifer Hayes Dara La Notte Company Si Dolce e il Tormento (madrigal for solo soprano) Monique Jonas Sinfonia (instrumental from Orfeo) Elly Braund, Nicholas Shikkis Sinfonia (instrumental from Orfeo) Jennifer Hayes, Jason Tucker Ballo (instrumental) Company Tempro La Cetra (madrigal for solo tenor) Ellen Yilma, Joshua Harriette Sinfonia a sei (instrumental) Alejandra Gissler, Nahum McLean, Monique Jonas, Niall Egan Damigella Tutta Bella (madrigal for three voices) Company Voices and Light Footsteps is dedicated to the memory of Belinda Quirey, a formidable authority on historical dance and an utterly inspiring teacher. Credits: Under the title Arrived parts of this dance were originally commissioned by Virginia Arts Festival 2019 and, with extra material created for twenty students from the Governor’s School for the Arts, it was first presented on March 21, 2019, at Chrysler Hall, Norfolk, Virginia. -
Jean Laurent Cochet.Wps
Je ne fais jamais rien, ni une conférence, ni un cours, sans me plonger dans Guth, qui a tout dit de tous les auteurs car son "Histoire de la littérature française" est fantastique! Que ce soit en une demi-page ou en 50, il dit tout de l'auteur, de son époque, de la société, de sa famille. Et c'est à Hugo qu'il consacre 50 pages car Hugo est un monument en dépit de ses faiblesses. C'est d'ailleurs là que j'ai découvert qu'il y avait des germes de folie dans la famille Hugo, germes auxquels son frère a succombé et Hugo a eu également 1 des problèmes "nerveux". Son œuvre est sublime mais son théâtre est ce qu'il y a de moins bon, c'est du mauvais théâtre - et on ne peut pas dire le contraire - avec parfois des scènes absolument étonnantes. Et, comme le souligne Paul Guth, ce qui est dommage, c'est que Hugo aurait pu faire un théâtre presque digne de Rostand s'il s'était arrêté à ses personnages picaresques, personnages dans lesquels on sent qu'il est inspiré comme dans "Ruy Blas" : Don César de Bazan pourrait être Cyrano. 2 Déboulonner la statue c'est donc beaucoup dire, mais, de tout temps, je m'en suis toujours rendu compte, alors que, (c’est très curieux) je crois n’avoir jamais monté de Hugo. Non parce que je pensais que c'était une tache trop difficile. On m'avait proposé de monter "Ruy Blas" pour un festival et de jouer Don Salluste mais le projet n'a pas abouti.