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James Rowson Phd Thesis Politics and Putinism a Critical Examination
Politics and Putinism: A Critical Examination of New Russian Drama James Rowson A thesis submitted for the degree of Doctor of Philosophy Royal Holloway, University of London Department of Drama, Theatre & Dance September 2017 1 Declaration of Authorship I James Rowson hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract This thesis will contextualise and critically explore how New Drama (Novaya Drama) has been shaped by and adapted to the political, social, and cultural landscape under Putinism (from 2000). It draws on close analysis of a variety of plays written by a burgeoning collection of playwrights from across Russia, examining how this provocative and political artistic movement has emerged as one of the most vehement critics of the Putin regime. This study argues that the manifold New Drama repertoire addresses key facets of Putinism by performing suppressed and marginalised voices in public arenas. It contends that New Drama has challenged the established, normative discourses of Putinism presented in the Russian media and by Putin himself, and demonstrates how these productions have situated themselves in the context of the nascent opposition movement in Russia. By doing so, this thesis will offer a fresh perspective on how New Drama’s precarious engagement with Putinism provokes political debate in contemporary Russia, and challenges audience members to consider their own role in Putin’s autocracy. The first chapter surveys the theatrical and political landscape in Russia at the turn of the millennium, focusing on the political and historical contexts of New Drama in Russian theatre and culture. -
Jerwood Annual Reports 2009
ERWOOD J FOUNDATION charitable foundation jerwood space ANNUAL REPORTS 2009 JERWOOD FOUNDATION 22 Fitzroy Square . London . W1T 6EN Telephone: 020 7388 6287 Fax: 020 7388 6289 www.jerwood.org - JERWOOD CHARITABLE FOUNDATION 171 Union Street . London . se1 0LN Telephone: 020 7261 0279 www.jerwoodcharitablefoundation.org - JERWOOD SPACE 171 Union Street . London . se1 0LN Telephone: 020 7654 0171 Fax: 020 7654 0172 www.jerwoodspace.co.uk JE RWO OD ANNUAL REPORTS 2009 CONTENTS The Jerwood Family 2 Jerwood Foundation, 3 Chairman’s Statement Jerwood Space, 12 Chairman’s & Director’s Statement Jerwood Charitable Foundation, 16 Chairman’s & Director’s Statement Visual Arts 20 Dance 26 Theatre 27 Literature 30 Music 31 Cross-Disciplinary 34 Small Grants 37 Jerwood Charitable Foundation, 39 Financial Statement 1 THE JERWOOD FAMILY The Jerwood Foundation, Jerwood Charitable Foundation and Jerwood Space are a family of organisations committed to imaginative and responsible funding and sponsorship of the visual and performing arts. Founded in 1977, the Jerwood Foundation was established by its Chairman, Alan Grieve, for John Jerwood, an international businessman and philanthropist. Since John Jerwood’s death in 1991, Alan Grieve has created and shaped the Jerwood vision of supporting excellence. This vision has established the Jerwood name as a major contributor to the vibrancy and creativity of the arts in the UK. The Jerwood Foundation makes strategic capital grants, reflecting its passion for the arts and education, and has established the Jerwood Art and Jerwood Sculpture Collections, both significant collections of 20th and 21st century works of art. The Sculpture Collection is open to the public at Ragley Hall in Warwickshire. -
Edwards H. Metcalf Library Collection on TE Lawrence
Edwards H. Metcalf Library Collection on T.E. Lawrence: Scrapbooks Huntington Library Scrapbook 1 Page Contents 1 recto [Blank]. 1 verso Anal. 1. Newspaper clipping. North, John, 'Hejaz railway brings back memories of Lawrence', Northern Echo, June 14, 1965. Anal. 2. Newspaper clipping. 'Memories of T.E.', Yorkshire Post, May 18, 1965. Mss. Note from Beaumont 'Please accept these free with my compliments. T.W. Beaumont'. 2 recto Black-and-white photograph of Beaumont. 'Thomas W. Beaumont Served under T.E. Lawrence in Arabia as his Sgt. Vickers Gunner'. 2 verso Black-and-white photograph. Mss. 'To my friend Theodora Duncan with every good wish. T.W. Beaumont' Typed note. ' Parents of Peter O'Toole with T.W. Beaumont At the gala opening of the film "Lawrence of Arabia", at the Majestic Theatre in Leeds, Yorkshire, Sunday evening, Oct. 13, 1963'. 3 recto Anal. 3. Newspaper clipping. 'A Lawrence Talks About That Legend', Leeds, Yorkshire, April 10, 1964. Two black-and-white photographs. 'Mr. T. W. Beaumont meets Dr. M.R. Lawrence elder brother of T.E. Lawrence, at Leeds City Station, Yorkshire. April 10, 1964. 3 verso Newspaper cartoon. 'Boy! I'm glad they don't use US nowadays!' Anal. 4. 'The following small photographs were taken during WW-I on the Eastern Front by T.W. Beaumont & friends, and smuggled out of Arabia. Newspaper cartoon. 'Arms for the love of Allah!' 4 recto Black-and-white photograph. 'Siwa Oasis, 1915-17 Involved in the defense of Suez. Operations against the Senussi in Lybian Desert. Photographed by C.S. -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60). -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English. Arrangement Due to size, this inventory has been divided into two separate units which can be accessed by clicking on the highlighted text below: Tom Stoppard Papers--Series descriptions and Series I. through Series II. [Part I] Tom Stoppard Papers--Series III. through Series V. and Indices [Part II] [This page] Stoppard, Tom Manuscript Collection MS-4062 Series III. Correspondence, 1954-2000, nd 19 boxes Subseries A: General Correspondence, 1954-2000, nd By Date 1968-2000, nd Container 124.1-5 1994, nd Container 66.7 "Miscellaneous," Aug. 1992-Nov. 1993 Container 53.4 Copies of outgoing letters, 1989-91 Container 125.3 Copies of outgoing -
Jerwood Annual Reports 2016
ANNUAL REPORTS 2016 1 Jerwood’s vision, to support exceptional talent within the arts, combined with their strategic and imaginative attitude towards funding and their commitment to making a difference to artists and creatives, makes them a very important part of a diverse funding landscape, and an ideal partner for the Arts Council. It has been a real pleasure to work with them during my time here. — Sir Peter Bazalgette, Chair, Arts Council England (2013 – 2017) 2 Jerwood Annual Reports 2016 Jewood is a family of registered charities and not-for-profit organisations; Jerwood Foundation, Jerwood Charitable Foundation, Jerwood Space and Jerwood Gallery. They are united in their commitment to support, nurture and reward excellence and dedication in the visual and performing arts. Jerwood has channelled £99 million in capital and revenue funding in support of the arts in the UK since 1991. www.jerwood.org 2 Jerwood Annual Reports 2016 Jerwood Foundation Chairman & General Director’s Report To send a shaft of light into the melancholy riddle of existence — Hans Bethge (1876 –1946), Die Chinesische Flöte, a translation of ancient Chinese poetry set to music by Mahler (1860 –1911) as Song of the Earth Chairman & General Director’s Report 2016 was marked by great global Jerwood Foundation’s Active Role uncertainty, unrest and change which has When Jerwood Foundation was affected all of us in some way: socially, established in 1977, we believed strongly politically, environmentally, financially and stated openly that great art and or technologically. The process of culture play a vital part in the inspiration, adapting to change is ongoing and offers unity and well-being of humanity. -
Sir Simon Jenkins Journalist and Author
Sir Simon Jenkins Journalist and Author Media Masters – February 11, 2016 Listen to the podcast online, visit www.mediafocus.org.uk Welcome to Media Masters, a series of one-to-one interviews with people at the top of the media game. Today, I’m joined by the editor and columnist Simon Jenkins. Simon might be the grandest of British journalism grandees. Knighted for services to the industry in 2004, he edited the London Evening Standard and the Times, covered politics for The Economist, and founded the Sunday Times book pages. Now known for his views on politics and culture as a columnist at the Guardian, he has also held public appointments at British Rail, English Heritage, and was a member of the Millennium Commission. Having recently ended his six-year term as chairman of the National Trust, he has written more than 15 books on topics as diverse as English churches, Thatcher, and of course, the media. Simon, thank you for joining me. Thank you! Did you always want to be a journalist? How did you get started? I think I wanted to be a politician – I know very few journalists who didn’t really want to be a politician somewhere deep down inside them. But I started journalism at university at Oxford, I have a totally conventional education story, doing PPE at Oxford – that’s philosophy, politics and economics – I worked on Cherwell, I left, went into academia, and was an academic for about two or three years, but I craved journalism. Went into journalism, I was quite political, I’d got involved in sort of left- wing Tory pressure groups and so on, but all the time I just thought, “Politics is boring compared to journalism,” and it was just… journalism sucked me in. -
Programme 2021 Thank You to Our Partners and Supporters
8–17 October 2021 cheltenhamfestivals.com/ literature #cheltlitfest PROGRAMME 2021 THANK YOU TO OUR PARTNERS AND SUPPORTERS Title Partner Festival Partners The Times and The Sunday Times Australia High Commission Supported by: the Australian Government and the British Council as part of the UK/Australia Season 2021-22 Principal Partners BPE Solicitors Arts Council England Cheltenham BID Baillie Gifford Creative New Zealand Bupa Creative Scotland Bupa Foundation Culture Ireland Costa Coffee Dutch Foundation For Literature Cunard Embassy of the Kingdom of the Netherlands Sky Arts Goethe Institut Thirty Percy Hotel Du Vin Waterstones Marquee TV Woodland Trust Modern Culture The Oldham Foundation Penney Financial Partners Major Partners Peters Rathbones Folio Prize The Daffodil T. S. Eliot Foundation Dean Close School T. S. Eliot Prize Mira Showers University Of Gloucestershire Pegasus Unwin Charitable Trust St. James’s Place Foundation Willans LLP Trusts and Societies The Booker Prize Foundation CLiPPA – The CLPE Poetry Award CLPE (Centre for Literacy in Primary Education) Icelandic Literature Center Institut Francais Japan Foundation Keats-Shelley Memorial Association The Peter Stormonth Darling Charitable Trust Media Partners Cotswold Life SoGlos In-Kind Partners The Cheltenham Trust Queen’s Hotel 2 The warmest of welcomes to The Times and The Sunday Times Cheltenham Literature Festival 2021! We are thrilled and delighted to be back in our vibrant tented Festival Village in the heart of this beautiful spa town. Back at full strength, our packed programme for all ages is a 10-day celebration of the written word in all its glorious variety – from the best new novels to incisive journalism, brilliant memoir, hilarious comedy, provocative spoken word and much more. -
Helen Gush: the World Theatre Season. Internationalism and Innovation. In
Helen Gush: The World Theatre Season. Internationalism and Innovation. In: Festivals als Innovationsmotor? Hg. v. Alexandra Portmann, Beate Hochholdinger-Reiterer. Berlin: Alexander 2020 (itw : im dialog 4), S. 29–43. 4 Helen Gush (Theatre and Performance Collection, Victoria and Albert Museum London) The World Theatre Season Internationalism and Innovation The end of the Second World War proved a catalyst for the establish- ment of two of Europe’s most significant international theatre festivals, alongside numerous organisations that identified as ›international‹. The Edinburgh International Festival of Music and Drama and the Avignon Festival each launched in 1947, while numerous international theatre institutions emerged over the following two decades.1 The use of the term ›international‹ in this context is indelibly linked to the post-War notion of using culture to bind nations together after the division of conflict, an ideal which was grounded in a humanist belief that artistic expression could transcend difference and appeal to a common humanity. In her history of the Edinburgh Festivals, Angela Bartie suggests that culture was given »new values« (Bartie 2013: 2) in the immediate post-War period. She describes the foundation of the Edinburgh International Festival as »a means of spiritual refresh- ment, a way of reasserting moral values, a rebuilding of relationships between nations, of shoring up European civilisations and of provid- ing ›welfare‹ in its broadest sense« (Bartie 2013: 2). David Bradby and Maria M. Delgado describe the foundation of the international festival in Avignon in similar terms as having »the explicit aim of healing the divisions caused by the Second World War« (Bradby/Delgado 2012: 5). -
Zeszyty PRASOZNAWCZE
KWARTALNIK OŚRODKA BADAN PRASOZNAWCZYCH Zeszyty PRASOZNAWCZE (ROCZNIK XXX JAKO KONTYNUACJA PRASY WSPÓŁCZESNEJ I DAWNEJ Z LAT 1958—1959) NR 3 (113) R. XXVIII KRAKÓW 1987 NR INDEKSU 38364 PL ISSN 0555-0025 RADA REDAKCYJNA Franciszek Adamski (Kraków), Kazimierz Kąkol (Warszawa), Ta deusz Kupis (Warszawa), Władysław Loranc (Warszawa), Henryk Markiewicz (Kraków), Julian Maślanka (Kraków), Józef Mądry (Katowice), Bogdan Michalski (Warszawa), Jerzy Myśliński (War szawa), Kazimierz Romaniuk (Warszawa), Alina Tepli-Kobielska (Warszawa), Marian Tyrowicz (Kraków) KOLEGIUM REDAKCYJNE Zbigniew Bajka, Jerzy Bralczyk, Paweł Dubiel, Sylwester Dziki, Tomasz Goban-Klas, Jan Kalkowski, Józef Kozak, Edmund Król, Bogusław Sławomir Kunda, Zofia Lewartowska, Teresa Lisicka, Jerzy Mikułowski Pomorski, Walery Pisarek, Henryk Siwek ZESPÓŁ REDAKCYJNY Paweł Dubiel (redaktor naczelny), Sylwester Dziki (redakcja techniczna), Józef Kozak (sekretarz redakcji), Maria Russ (dział artykułów), Dorota Tera- kowska; Danuta Harnik (korekta) WSPÓŁPRACOWNICY ZAGRANICZNI Prof. Aleksander F. Biereżnoj — Leningradslkij Gosudarsitwiennyj Uni- wiersitiet im. A. Żdanowa, Fäkultiet Żuirnalistyki ; prof. Roger Claus se — Université Libre de Bruxelles; dr Sheltoin A. Gunaratne — Mass Com munications Department, Moorhead State University (Minnesota) ; prof. James D. H all o ran — University of Leicester, Centre of Mass Communication Research; doc. Władimir W. Kielniik — Uralskij Gosudarstwiennyj Uni- wiersitiet im. M. Gorkogo, Fäkultiet Żurnalistiki, Swierdłowsk; iprof. William H. -
The Eland Catalogue, No. 14
Welcome to the Eland Catalogue, No. 14 In 1982, John Hatt set up Eland. His office was his attic, perched at the top of his house on a grid of 19th-century terraced streets. Thus was Eland born, earning its identity from a South London street named after a large African antelope, which had been nicknamed by a Dutch-African back in the 17th-century, half-remembering the German slang for an elk. Only later did we find out that there had been an old Devonian family of bookseller-publishers called Eland, who worked in the close of Exeter Cathedral, a football stadium in Leeds and an Anglo-Saxon manor in Yorkshire that survived the Norman conquest. But it is to the large, docile, spiral-horned antelope that we owe our brand name. They sound fine animals these African Elands. A bull can stand six feet tall at the shoulder and weigh over two thousand pounds, so can pretty much barge his way through anything in his path, especially when backed up by the rest of the herd. Unlike publishers they tend to avoid lunch, preferring to eat at dawn and dusk and digest with a siesta in the middle of the day. When the herd moves in the night, they create a distinctive castanet-like chorus from the clack of their hooves. For tens of thousands of years the Bushmen have honoured the Eland as a trickster god, who assists in trance, dance and spirit travel. The Eland has now and then been domesticated (their milk keeps well) but they are essentially nomadic, which is true for those who work at Eland, who have spent as much of their time as journalists, writers, editors, dog-whisperers and dragoman-guides as behind a desk. -
Box Office 0870 343 1001 the Radcliffe Camera, the Bodleian Library
Sunday 29 March – Sunday 5 April 2009 at Christ Church, Oxford Featuring Mario Vargas Llosa Ian McEwan Vince Cable Simon Schama P D James John Sentamu Robert Harris Joan Bakewell David Starkey Richard Holmes A S Byatt John Humphrys Philip Pullman Michael Holroyd Joanne Harris Jeremy Paxman Box Office 0870 343 1001 www.sundaytimes-oxfordliteraryfestival.co.uk The Radcliffe Camera, The Bodleian Library. The Library is a major new partner of the Festival. WELCOME Welcome We are delighted to welcome you to the 2009 Sunday Particular thanks this year to our partners at Times Oxford Literary Festival - our biggest yet, The Sunday Times for their tremendous coverage spread over eight days with more than 430 speakers. and support of the Festival, and to all our very We have an unprecedented and stimulating series generous sponsors, donors and supporters, of prestige events in the magnificent surroundings especially our friends at Cox and Kings Travel. of Christ Church, the Sheldonian Theatre and We have enlarged and enhanced public facilities Bodleian Library. But much also to amuse and divert. in the marquees at Christ Church Meadow and in the Master’s Garden, which we hope you will Ticket prices have been held to 2008 levels, offering enjoy. We are very grateful to the Dean, the outstanding value for money, so that everyone Governing Body and the staff at Christ Church for can enjoy a host of national and international their help and support. speakers, talking, conversing and debating throughout the week on every conceivable topic. Hitherto, the Festival has been a ‘Not for Profit’ Company, but during 2009 we will move to establish The Sunday Times Oxford Festival is dedicated a new Charitable Trust.