Interview with Barbara Young
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The Ideal of Ensemble Practice in Twentieth-Century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London P
The Ideal of Ensemble Practice in Twentieth-century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London PhD January 2015 1 I hereby declare that the work presented in this thesis is my own and has not been and will not be submitted, in whole or in part, to any other university for the award of any other degree. Philippa Burt 2 Acknowledgements This thesis benefitted from the help, support and advice of a great number of people. First and foremost, I would like to thank Professor Maria Shevtsova for her tireless encouragement, support, faith, humour and wise counsel. Words cannot begin to express the depth of my gratitude to her. She has shaped my view of the theatre and my view of the world, and she has shown me the importance of maintaining one’s integrity at all costs. She has been an indispensable and inspirational guide throughout this process, and I am truly honoured to have her as a mentor, walking by my side on my journey into academia. The archival research at the centre of this thesis was made possible by the assistance, co-operation and generosity of staff at several libraries and institutions, including the V&A Archive at Blythe House, the Shakespeare Centre Library and Archive, the National Archives in Kew, the Fabian Archives at the London School of Economics, the National Theatre Archive and the Clive Barker Archive at Rose Bruford College. Dale Stinchcomb and Michael Gilmore were particularly helpful in providing me with remote access to invaluable material held at the Houghton Library, Harvard and the Harry Ransom Center at the University of Texas, Austin, respectively. -
The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000. -
An Afternoon Remembering Dora Bryan on Talking Pictures TV
Talking Pictures TV Highlights for week www.talkingpicturestv.co.uk beginning Monday SKY 328 | FREEVIEW 81 14th October 2019 FREESAT 306 | VIRGIN 445 An afternoon remembering Dora Bryan on Talking Pictures TV From 3.30pm on the afternoon of Saturday 17th October we bring you Paul O’Grady and Rita Tushingham as they celebrate the life and career of their dear friend Dora Bryan. Paul O’Grady was great friends with Dora, who was also very close to Rita Tushingham, having worked with her on A Taste of Honey. Both share memories and tell stories about her life, work, sad and happy times and everything in between. One of Britain’s most versatile performers, she was at home in revues, comedies and musicals and equally comfortable in dramatic roles. With her breezy and engaging personality, Dora Bryan had the gift of appealing to every audience. She won an Olivier Award in 1996, and was given an OBE in the same year. Mon 14th Oct 14:35 Tues 15th Oct 22:00 The Franchise Affair (1951) Girl With Green Eyes (1964) Crime Drama, directed by: Drama, directed by Desmond Lawrence Huntington Davis. Stars Peter Finch, Stars: Michael Denison, Dulcie Gray. Rita Tushingham, Lynn Redgrave. A young lawyer is called on in des- Kate Brady, an Irish farm girl, and peration by two women, mother and her best friend move to Dublin daughter, who live in a large isolated where they meet a worldly writer. house called The Franchise. Accused Although both are interested in of kidnapping and ill-treating a young him, it is Kate who pursues him. -
Theatre Archive Project: Interview with John Sheppard
THEATRE ARCHIVE PROJECT http://sounds.bl.uk John Sheppard – interview transcript Interviewer: Kate Harris 29 November 2005 John Sheppard on his memories of going to the theatre in Manchester, London and Stratford in the 1950's and 1960's; Memories of Manchester Theatre in the early fifties; Memories of going to The Opera House; Festival of Britain production of Shakespeare's Anthony and Cleopatra and Shaw's Caesar and Cleopatra in 1951; John Gielgud's King Lear; Memories of going to The Library Theatre; Memories of the company, Jeremy Brett, Robert Stephens, Joan Heath, Bernard Warwick; Jessie Evans, dir David Scase; Memories of productions including The Quare Fellow; Audiences at The Library; Memories of Laurence Olivier and John Gielgud; Memories of seeing Gielgud performing in A Day by the Sea at The Opera House in Manchester in 1953; Gielgud's arrest; Memories of seeing The Entertainer at The Royal Court in 1957; Olivier's performance; Changing impressions of Terence's Rattigan's work over the period; Separate Tables, The Deep Blue Sea; Kenneth Tynan's reviews; JS view of Tynan's treatment of Vivien Leigh; Changes in the way the media portrays actors; JS impressions of European theatre; Memories of Peter Daubney's World Theatre Seasons in the late 1960's early 70's; Memories of going to see Theatre Workshop at Stratford East; Importance of women in twentieth century theatre; Impressions of Theatre Workshop's production of A Taste of Honey 1958; Memories of going to see the RSC production The Wars of the Roses (1963) and Peter Brook's production of Titus Andronicus (1955). -
Autograph Auction Saturday 14 December 2013 11:00
Autograph Auction Saturday 14 December 2013 11:00 International Autograph Auctions (IAA) Radisson Edwardian Heathrow Hotel 140 Bath Road Heathrow UB3 5AW International Autograph Auctions (IAA) (Autograph Auction) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 Lot: 4 GULLY JOHN: (1783-1863) CARNERA PRIMO: (1906-1967) English Boxer, Sportsman and Italian Boxer, World Heavyweight Politician. Signed Free Front Champion 1933-34. Bold blue envelope panel, addressed in his fountain pen ink signature ('Primo hand to Thomas Clift at the Carnera') on a page removed Magpie & Stumps, Fetter Lane, from an autograph album. One London and dated Pontefract, very slight smudge at the very 27th September 1835 in his conclusion of the signature and hand. Signed ('J Gully') in the some slight show through from lower left corner. Very slightly the signature to the verso. VG irregularly neatly trimmed and Estimate: £60.00 - £80.00 with light age wear, G. The Magpie & Stumps public house is situated opposite the Old Bailey Lot: 5 and was famous for serving BOXING: Small selection of execution breakfasts up until vintage signed postcard 1868 when mass public hangings photographs by the boxers Gene were stopped. Tunney (World Heavyweight Estimate: £80.00 - £100.00 Champion 1926-28), Max Baer (World Heavyweight Champion 1934-35) and Ken Overlin (World Lot: 2 Middleweight Champion 1940-41; WILLARD JESS: (1881-1968) signed to verso). Each of the American World Heavyweight images depict the subjects in full Boxing Champion 1915-19. Blue length boxing poses and all are fountain pen ink signature ('Yours signed in fountain pen inks. truly, Jess Willard') on a slim Some slight corner creasing, G to oblong 8vo piece. -
Theatre Archive Project: Interview with Josephine Smith
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Josephine Smith – interview transcript Interviewer: Jacky Hall 29 March 2007 Wardrobe Mistress at Theatre Workshop. Actors; audiences; A Taste of Honey; budgets; John Bury; Harry H. Corbett; costume making; costume maintenance; critics; foreign appreciation; The Good Soldier Schweik; lifestyle; Joan Littlewood; Look Back in Anger; Ewan MacColl; productions; Gerry Raffles; Red Roses for Me; rehearsals; Theatre Royal, Stratford East; Theatre Workshop; touring; Kenneth Tynan; wages. JH: First of all, if you could just tell me about how you started working in theatre? JS: Well… well, I was at school with somebody who joined Theatre Workshop. And I heard that she’d joined, and when they came to London with Uranium 235… another friend - I was working doing medical art, which was dead boring, frankly, but there we are - she said, ‘Well, go and see them, and see how, you know, what it is’. So I went - she persuaded me to go, and I did and I met up with Doreen [Warburton, the school friend] and said I was interested in theatre. I was interested… it goes back to schooldays, I was interested in costumes: they got me doing costumes for the school plays, and so that’s… Doreen knew of my interests and that was that. Joan [Littlewood] said, ‘Well, we could probably take you on, but’ she said, ‘you won’t get any money, and you’ll have to support yourself, you know, we all have to do our best to, you know, get by’. So the first play I dressed was The Travellers,and that went up to the Edinburgh Festival in 1952, I think, yes, it would be. -
WOODFALL – SEASON LISTINGS Look Back in Anger UK 1958. Dir
WOODFALL – SEASON LISTINGS Look Back in Anger UK 1958. Dir Tony Richardson. With Richard Burton, Claire Bloom, Mary Ure, Gary Raymond. 98min. Digital. PG. A Park Circus release John Osborne’s bristling dialogue provides explosive ammunition for Burton’s portrayal of the archetypal ‘angry young man’. Shot by the great Oswald Morris, the film opens with an extraordinary scene set in a jazz club. Trumpeter Jimmy Porter (Burton) – a disillusioned, college-educated bloke, raging against the Establishment – works by day on a sweet stall in the market. His downtrodden, middle-class wife suffers the brunt of his tirades, but when he vents his anger by having an affair with her best friend it causes untold misery for everyone he knows. Tony Richardson’s feature debut is the epitome of the kitchen-sink drama that spawned a new genre of British social-protest films and heralded the liberated swinging sixties. Apposite for current times and still uncomfortably compelling. FROM MON 2 APR Member Salon: Look Back in Anger TRT 60min Our monthly discussion series for Members and their guests takes a closer look at Woodfall Film’s influential first production, directed by Tony Richardson and one of the first British new wave films. Join your fellow Members to discuss the film’s portrayal of class, masculinity and Britishness, and how those themes are represented in modern British cinema. This is a free event for Members and guests who have attended a screening of Look Back in Anger. Tickets to this screening are at the special price of £6. Further places to the Salon will be released on a first come, first served basis to Members and guests on the day. -
Talking out of Tune
Talking Out of Tune Remembering British Theatre 1944-56 Kate Lucy Harris Ph.D. School of English Literature, Language and Linguistics University of Sheffield December 2008 1 Summary of Thesis This thesis explores how British Theatre represented and reacted to cultural and social changes between 1944 and 1956. It is closely linked to the oral history strand of the AHRC University of Sheffield British Library Theatre Archive Project <http://www.bl.ukltheatrearchive>. The five chapters focus on distinct subject areas in order to explore the vibrant diversity of the period. However, they are united by an overarching narrative which seeks to consider the relationship between memory and history. The first chapter is based on the oral history strand. It explores the different ways in which the Project's methodology has shaped both the interviewee testimony and my own research. Chapter 2 focuses on the changing historical perceptions of the popular West End plays of the day. Case studies of plays are used to compare the responses of audiences and critics in the 1940s and 50s, with the critical commentaries that surround the plays and playwrights today. The third chapter explores the relationship between BBC television drama and theatre. It assesses the impact that cross fertilisation had on both media by examining plays, productions and policies. Chapters 4 and 5 focus on two of the theatre companies of the period - Theatre Workshop and the Old Vic Theatre Company. Chapter 4 explores the impact that Theatre Workshop's early years as a touring group had on the development of the company. It draws on new oral history testimonies from former company members who joined the group in the 1940s and early 50s. -
Reading the Old Left in the Ewan Maccoll and Joan Littlewood's
Reading the Old Left in the Ewan MacColl and Joan Littlewood’s Theatre Workshop and Beyond: in Joan Littlewood’s post-theatrical engagements in the 1960s. Fatine Bahar Karlidag A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Stefka Mihaylova, Chair Odai Johnson Scott Magelssen Barry Witham Program Authorized to Offer Degree: Drama ©Copyright 2017 Fatine Bahar Karlidag 2 University of Washington Abstract Reading the Old Left in the Ewan MacColl and Joan Littlewood’s Theatre Workshop and Beyond: in Joan Littlewood’s post-theatrical engagements in the 1960s. Fatine Bahar Karlidag Chair of the Supervisory Committee: Dr. Stefka Mihaylova School of Drama Based on archival research, recent Joan Littlewood centenary events and contemporary scholarship on the Theatre Workshop of Joan Littlewood and Ewan MacColl, this dissertation proposes to take sides with the radical class politics of the Old Left, or Communism, to read the legacy of MacColl-Littlewood collaboration in theatre, and its continuing impacts on Littlewood’s post-theatrical work in the 1960s’ New Left. This is to demystify the ‘genius’ aura bestowed upon Joan Littlewood; to re-instate Ewan MacColl’s contribution to the legacy of this ground-breaking theatre famously known as that which revolutionized the West End; to retrofit Theatre Workshop as a sample ensemble of the larger frame of the radical left-wing interwar theatres while acknowledging the independent evolution of their work into 1950s, and to further complicate the thematically and textually oriented analytical narratives’ efforts to analyze Theatre Workshop productions. -
ALBA DE AMÉRICA (1951) Rafael De España Centro De Investigaciones Film-Historia
Capítulo 3 EL FRANQUISMO COMBATE LA «LEYENDA NEGRA»: ALBA DE AMÉRICA (1951) Rafael de España Centro de Investigaciones Film-Historia. Parc Científic de Barcelona 1. El descubrimiento de América en el cine español Aunque los libros de texto escolares del franquismo insistieran machaconamente en la gesta española del des- cubrimiento y conquista de las Américas1, el cine de la época (y de años anteriores, todo hay que decirlo) no mostró el menor interés en dicha temática. Creo que el motivo principal era el reconocimiento que subyacía bajo la retórica oficial de que en el mercado iberoamericano (uno de los objetivos principales de la industria fílmica española, dada la nula aceptación de sus productos en Europa) no iban a ser aceptadas las interpretaciones re- duccionistas de la Hispanidad que emanaban de Madrid. Nunca se realizó, por ejemplo, ninguna película sobre Cortés o Pizarro, y el único conquistador que mereció ho- menaje fue Vasco Núñez de Balboa en una fecha tan tar- día como 1963 y en un film, Los conquistadores del Pa- cífico (dir. José María Elorrieta), que no tuvo demasiada difusión2. A la figura de Colón, sin embargo, se le dedicó 1 Cf. al respecto mi investigación Las sombras del Encuentro. El cine explica la historia de Iberoamérica, de Colón a la Independencia. Badajoz, Diputación Provincial / Festival Ibérico de Cinema, en prensa). 2 A pesar de la evidencia, sigue siendo todavía un latiguillo recu- rrente entre los investigadores que uno de los principales motivos argu- 65 en 1951 Alba de América, una auténtica superproducción que puede considerarse como la segunda y última inicia- tiva gubernamental en materia cinematográfica: si la pri- mera fue Raza (estrenada en enero de 1942, dir. -
The Encyclopedia of Stanley Kubrick
THE ENCYCLOPEDIA OF STANLEY KUBRICK THE ENCYCLOPEDIA OF STANLEY KUBRICK GENE D. PHILLIPS RODNEY HILL with John C.Tibbetts James M.Welsh Series Editors Foreword by Anthony Frewin Afterword by Leon Vitali The Encyclopedia of Stanley Kubrick Copyright © 2002 by Gene D. Phillips and Rodney Hill All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Hill, Rodney, 1965– The encyclopedia of Stanley Kubrick / Gene D. Phillips and Rodney Hill; foreword by Anthony Frewin p. cm.— (Library of great filmmakers) Includes bibliographical references and index. ISBN 0-8160-4388-4 (alk. paper) 1. Kubrick, Stanley—Encyclopedias. I. Phillips, Gene D. II.Title. III. Series. PN1998.3.K83 H55 2002 791.43'0233'092—dc21 [B] 2001040402 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K.Arroyo Cover design by Nora Wertz Illustrations by John C.Tibbetts Printed in the United States of America VB FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. -
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Brotherston has been unafraid to leave much of Stratford’s enormously deep stage empty. At the front he has created skeletal metal proscenium arches within the theatre’s own, reflecting that there is a show within the show; these pivot in when the action needs to be contained downstage. A projection screen can fly in between them to production production Oh What seal off the upstage, and the LED sign, doing a good impersonation of the original, appears in front of that when needed. The cast are also unafraid to break through the proscenium into A Lovely Stratford’s tightly-focused auditorium. theatre Paul Pyant then brings the space to life using a theatre selection of gear that just about spans the history of the show itself, from the tiny Martin MAC Aura LED washlights he fell in love with on War gets Charlie and the Chocolate Factory, here again Cadac’s digital CDC-8 mixing desk. dotted around the pros area, to VL3500 Spots and Martin Atomic strobes, right back to the Strand Patt 264s that are still in Stratford’s house transmitter pairs. Walker first used these last The new production brought the show back to stock; White Light supplied the modern gear. a digital summer at the Royal Academy of Music and was its original home to mark both the centenary of The transformations he conjures from this rig are impressed then. “The 9000s just sounded so Littlewood herself and the hundredth astonishing, from bright music-hall colours to a much better than even the best analogue radios.