DOCSLIB.ORG

The Caretaker Teaching Resources Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE CARETAKER TEACHING RESOURCES CONTENTS Company 3 Old Vic New Voices Education The Old Vic The Cut Creative team 4 London SE1 8NB E [email protected] Character breakdown 6 @oldvicnewvoices Act breakdown © The Old Vic, 2016. All information 7 is correct at the time of going to press, but may be subject to change Themes 10 The Caretaker by Harold Pinter Timeline – Harold Pinter life and works 11 Teaching resources Compiled by Anne Langford Context – Britain: then and now 12 Design Matt Lane-Dixon Rehearsal and production Pinter and the Theatre of the Absurd 14 photography Manuel Harlan Old Vic New Voices Interview with Sound Designer Simon Baker 16 Alexander Ferris Director Hannah Fosker Head of Education & Community Interview with actor George MacKay 20 Ross Crosby Community Co-ordinator Richard Knowles Stage Business Co-ordinator Practical exercises – Physical storytelling and comedy 23 Tom Wright Old Vic New Voices Intern Further details of this production A day in the life of Events Manager Emma Robson 26 oldvictheatre.com Bibliography and further reading 28 THE CARETAKER TEACHING RESOURCES 2 COMPANY George MacKay Daniel Mays Timothy Spall Mick Aston Davies Theatre: Ah, Wilderness Theatre: The Red Lion Timothy trained at the (Young Vic), The Cement (National Theatre), Mojo (West National Youth Theatre and Garden (Vault Festival). End), The Same Deep Water RADA and began his acting Film: Captain Fantastic, as Me, Trelawny of the Wells, career in the theatre, with Pride, Bypass, Sunshine on Moonlight (Donmar) M.A.D seasons at Birmingham Rep Leith, For Those in Peril (Bush), Hero, Scarborough, and the RSC. Film: Mr Turner, (Best Actor awards: Scottish Motortown, The Winterling, Harry Potter, The King’s Speech, BAFTA, Stockholm Film Ladybird (Royal Court). The Damned United, Sweeney Festival), How I Live Now, Film: The Limehouse Golem, Todd: The Demon Barber of Breakfast with Johnny The Infiltrator, Dad’s Army, Fleet Street, Pierrepoint, All or Wilkinson, Private Peaceful, All or Nothing, Vera Drake, Nothing, Lucky Break, Topsy Hunky Dory, The Boys are Back, Atonement, Red Riding, Welcome Turvy, Secrets and Lies. TV: Defiance, The Thief Lord, Peter to the Punch, The Bank Job, Fungus the Bogeyman, The Pan. TV: Likely Stories: Foreign Made in Dagenham, Byzantium, Enfield Haunting, Blandings, Parts, 11/22/63, The Outcast, The Adventures of Tintin: The The Syndicate, The Fattest Best of Men, Birdsong, The Secret of the Unicorn, Shifty. Man in Britain, Oliver Twist, Old Curiosity Shop, Tsunami: TV: Line of Duty, Mrs Biggs, The Street, Bodily Harm, The Aftermath, Johnny and the The Great Fire, Public Enemies, Auf Wiedersehen Pet, Perfect Bomb, The Brief, Footprints in White Girl, Nightshift, Common, Strangers, Shooting the Past, the Snow, Rose and Maloney. Ashes to Ashes, The Street, Our Mutual Friend and his own Outcasts, In Deep, EastEnders. documentary Timothy Spall: Somewhere at Sea. THE CARETAKER TEACHING RESOURCES 3 CREATIVE TEAM Matthew Warchus Gary Yershon Director Music Theatre: The Master Builder, Future Conditional, Speed- Theatre: The Master Builder, The Norman Conquests the-Plow (The Old Vic), The Norman Conquests (The Old (The Old Vic), Art, The Unexpected Man, Life x 3, The God Vic/Broadway), Life x 3 (National Theatre/The Old of Carnage, The Play What I Wrote (West End/Broadway), Vic/Broadway), Matilda the Musical (RSC/West End/ Edward II, Grief (National Theatre) Arabian Nights (RSC), Broadway/international tour), Ghost the Musical (West The Low Road (Royal Court), Julius Caesar (Donmar). End/international tour), Boeing Boeing, The Lord of the Film: Mr Turner, Another Year, Happy-Go-Lucky, Running Rings, Endgame, Our House (West End), La Bête, Deathtrap, Jump. TV: Trial and Retribution, Skin Deep, James the Cat, God of Carnage, Art (West End/Broadway), The Unexpected Ebb and Flo. Radio: Three Men in a Boat, The Odyssey, Man (West End RSC/Broadway), Buried Child, Volpone Autumn Journal. Gary is an Associate Artist of the (National Theatre). Opera: Falstaff (ENO/Opera North), Royal Shakespeare Company. Così Fan Tutte (ENO), The Rake’s Progress (ROH/WNO), Troilus and Cressida (Opera North). Film: Pride, Simpatico. Simon Baker Matthew was appointed Artistic Director of The Old Vic Sound in May 2014. Theatre: The Master Builder, Future Conditional, High Society, Electra (The Old Vic), Shakespeare in Love, Mojo, Rob Howell The Umbrellas of Cherbourg (West End), Matilda the Musical Designer (RSC/West End/Broadway/international tour – 2012 Theatre: The Master Builder, Dr. Seuss’s The Lorax, Future Olivier Award for Best Sound), Rebecca (UK tour), Conditional, A Flea in Her Ear, Inherit the Wind, Speed-the- Anything Goes (Sheffield/UK tour), The Roaring Girl (RSC), Plow, Complicit (The Old Vic), The Norman Conquests Don John (RSC/international tour), The Light Princess, (The Old Vic/Broadway). Rob has also worked at the The Amen Corner (National Theatre), Steptoe and Son National Theatre, RSC, Royal Court, Almeida, Donmar (UK tour), An Audience with Meow Meow (Berkeley Rep), Warehouse, Young Vic, Chichester Festival Theatre, West Brief Encounter (worldwide), The Red Shoes, Wild Bride Yorkshire Playhouse, Manchester Royal Exchange, Royal (international tours). Simon is an Associate Artist of Opera House, Metropolitan Opera in New York and on The Old Vic and a fellow of the Guildhall School of Broadway. He’s won three Olivier Awards for Set Design, Music & Drama. including for Matilda the Musical in 2012 for which he also won Drama Desk, Outer Critic’s Circle and Tony awards. Jessica Ronane CDG Casting Director Hugh Vanstone Theatre: The Master Builder, Dr. Seuss’s The Lorax, Lighting The Hairy Ape, Future Conditional (The Old Vic), Running Hugh has designed the lighting for nearly 200 productions Wild (Regent’s Park), Angus Thongs and Even More Snogging and worked for most of the UK’s national companies and (West Yorkshire Playhouse). Theatre (childrens casting): extensively on Broadway. He’s received many awards To Kill a Mockingbird, The Sound of Music, (Regent’s Park), for his work including three Olivier Awards, a Tony and The Audience, Charlie and the Chocolate Factory, Made in a Molière. Theatre: The Master Builder, Future Conditional Dagenham, I Can’t Sing, Singin’ in the Rain, Billy Elliot the (The Old Vic), The Red Lion (National Theatre), Welcome Musical (West End), Matilda the Musical (RSC/West End), Home Captain Fox!, Closer (Donmar), Matilda the Musical Bugsy Malone (Lyric), Caroline or Change, Baby Girl, Mrs (RSC/international), Shrek (New York/West End/UK tour), Affleck, Burnt by the Sun (National Theatre), A Member of Ghost (West End/international), An Act of God (New York/ the Wedding, Far Away (Young Vic). tour), Strictly Ballroom (Australian tour), Tanz Der Vampire (Paris/Germany), Don Quixote (Royal Ballet). THE CARETAKER TEACHING RESOURCES 4 Sean Linnen Future Conditional (The Old Vic), The Gods Weep (RSC/ Associate Director Hampstead), The Tempest, Much Ado About Nothing (RSC/ In 2014 Sean was Trainee Artistic Director at Paines Shakespeare in a Suitcase tour), Adrian Mole the Musical Plough and Sheffield Theatres in partnership with Arts (Leicester Curve), Jerusalem (Northcote, Exeter). Before Council England. Director: Mojo (RWCMD), 322 Days working in theatre full-time, Charlie was a director and (Paines Plough), Growth (Paines Plough/RWCMD), playwright, and taught MA and undergraduate levels in A Preoccupation with Romance (Edinburgh Festival Fringe), London drama schools. Hollow (Bike Shed, Exeter). Associate/Staff Director: Protest Song (National Theatre), Lungs, Our Teacher’s a Penny Dyer Troll, The Initiate (Paines Plough). Assistant Director: Dialect Coach Future Conditional (The Old Vic), Translations (ETT/Rose Theatre: Other Desert Cities, Sweet Bird of Youth, Kingston/Sheffield), The Machine (Donmar/Manchester Kiss Me Kate, Speed-the-Plow, The Philadelphia Story International Festival/New York), The Daughter-in-Law, A (The Old Vic), Husbands and Sons, This House (National Taste of Honey, Copenhagen (Sheffield). Sean also worked Theatre), The Maids, Gypsy, The Ruling Class, The Book on The Vote (Donmar/Channel 4) and is a selector for the of Mormon, The Michael Grandage season (West End), National Student Drama Festival. The Cripple of Inishmaan, How to Succeed in Business (Broadway), Linda (Royal Court), Teddy Ferrara (Donmar), Charlie Hughes-D’Aeth Reasons to be Pretty (Almeida), Reasons to be Happy Voice Coach (Hampstead). Film: The Danish Girl, Florence Foster Jenkins, Charlie is Consultant Text and Voice Coach for the Testament of Youth, Blue Jasmine, Pride, Philomena, RSC’s Matilda the Musical, (Resident 2010-14). Currently The Queen, Elizabeth. TV: The Rack Pack, The Last Kingdom, Resident Voice Coach for Charlie and the Chocolate Marvellous, Cilla, Tommy Cooper, The Girl, Mrs Biggs, Factory in the West End. Other theatre: The Master Builder, Downton Abbey. THE CARETAKER TEACHING RESOURCES 5 CHARACTER BREAKDOWN Mick is in his late twenties and is Aston’s younger brother. He admits to getting frustrated with Aston but seems to care about him and is concerned by Davies’ arrival. He is quick witted and trips Davies up when questioning him. He is aggressive towards Davies, taking his clothes, bag and pushing him to the floor. He frequently talks about projects and ambitions for the house. He owns the dilapidated house that the play is set in. Aston is in his early thirties and is Mick’s older brother, he seems to have a good relationship with Mick, although they do not speak to each other much through the play. He seems quiet and slow but is very kind to Davies, offering him a place to stay, a job, money, tobacco, clothes and shoes. He often speaks haltingly and has trouble finishing anything. We learn that when he was younger he had hallucinations and, against his will, was put into a hospital and given electro-shock treatment that affected him greatly. He eventually asks Davies to leave after Davies threatens him. Davies is an old, homeless man who at the start of play has lost his job and accommodation at a café because of a fight.
Recommended publications
  • Gregory Clarke Sound Designer

    Gregory Clarke Sound Designer

    Gregory Clarke Sound Designer Agents Giles Smart Assistant Ellie Byrne [email protected] +44 (020 3214 0812 Credits In Development Production Company Notes THE HOUSE OF SHADES Almeida By Beth Steel 2020 Dir. Blanche McIntyre ALL OF US National Theatre By Francesca Martinez 2020 Dir. Ian Rickson THE REALISTIC JONESES Theatre Royal Bath By Will Eno 2020 Dir. Simon Evans Theatre Production Company Notes THE BOY FRIEND Menier Chocolate Factory Book, Music and Lyrics by Sandy Wilson 2020 Dir. Matthew White THE WIZARD OF OZ Chichester Festival Adapted by John Kane from the motion 2019 Theatre picture screenplay A DOLL'S HOUSE Lyric Hammersmith By Henrik Ibsen in a new adaptation by 2019 Tanika Gupta Dir. Rachel O’Riordan. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE SECRET DIARY OF Ambassadors Theatre Based on the novel by Sue Townsend ADRIAN MOLE AGED 13 3/4 Dir. Luke Sheppard Book & Lyrics by 2019 Jake Brunger, Music & Lyrics by Pippa Cleary Transfer of Menier Chocolate Factory production THE BRIDGES OF MADISON Menier Chocolate Factory Book by Marsha Norman COUNTY Music & Lyrics by Jason Robert Brown 2019 Based on the novel by Robert James Waller Direction Trevor Nunn THE BEACON Druid By Nancy Harris 2019 Dir. Garry Hynes RICHARD III Druid / Lincoln Center NYC By William Shakespeare 2019 Dir. Garry Hynes ORPHEUS DESCENDING Theatr Clwyd / Menier By Tennessee Williams 2019 Chocolate Factory Dir. Tamara Harvey THE BAY AT NICE Menier Chocolate Factory By David Hare 2019 Dir.
  • Harold Pinter Is the Pre-Eminent Stylist of Post-War British Theatre, And

    Harold Pinter Is the Pre-Eminent Stylist of Post-War British Theatre, And

    Pinter and style by Harry Derbyshire Harold Pinter’s style is both impressive and contagious, and the dramatists who have emerged in his wake have often wrestled to free themselves from his influence, just as he himself has been periodically accused of self-parody. What was at first taken to be hyper-realistic or ‘tape-recorder’ dialogue, capturing the manifold hesitations, inaccuracies and repetitions of everyday speech, has become an ever-more recognisable mode of writing which maximises the allusive power of language while, often, denuding it of literal meaning. Pinter’s particular way with words is exemplified by his early revue sketches, as much exercises in style as studies in character, arguably the best of them being ‘Last to Go’. The sketch treats its audiences to a desultory conversation between the barman of an all-night coffee stall and his only customer, a newspaper seller who has recently packed up for the night. Their subject is which newspaper was the last to be sold: Man Yes, it was the ‘Evening News’ that was the last to go tonight. Barman Not always the last though, is it, though? Man No. Oh no. I mean sometimes it’s the ‘News’. Other times it’s one of the others. No way of telling beforehand. Until you’ve got your last one left, of course. Then you can tell which one it’s going to be. Barman Yes. Pause. Man Oh yes.[i] The pointlessness of the conversation is the point of the drama: the need for human contact, rather than any looked-for practical outcome, is what is driving the dialogue.
  • Chapter 36 Harold Pinter: the Dramatist and His World

    Chapter 36 Harold Pinter: the Dramatist and His World

    Chapter 36 Harold Pinter: The Dramatist and His World Background Nobel winner, Harold Pinter (1930- 2008) was born in London, England in a Jewish family. Some of the most recognizable features in his plays are the use of understatement, small talk, reticence , and silence. These devices are employed to convey the substance of a character’s thoughts. At the outbreak of World War II, Pinter was evacuated from the city to Cornwall; to be wrenched from his parents was a traumatic event for Pinter. He lived with 26 other boys in a castle on the coast. At the age of 14, he returned to London. "The condition of being bombed has never left me," Pinter later said. At school one of Pinter's main intellectual interests was English literature, particularly poetry. He also read works of Franz Kafka and Ernest Hemingway, and started writing poetry for little magazines in his teens. The seeds of rebellion in Pinter could be spotted early on when he refused to do the National Service. As a young man, he studied acting at the Royal Academy of Dramatic Art and the Central School of Speech and Drama, but soon left to undertake an acting career under the stage name David Baron. He travelled around Ireland in a Shakespearean company and spent years working in provincial repertory before deciding to turn his attention to playwriting. Pinter was married from 1956 to the actress Vivien Merchant. For a time, they lived in Notting Hill Gate in a slum. Eventually Pinter managed to borrow some money and move away.
  • Interpretation of the Subtext of Harold Pinter's the Room, a Thematic Study

    Interpretation of the Subtext of Harold Pinter's the Room, a Thematic Study

    International Journal on Studies in English Language and Literature (IJSELL) Volume 3, Issue 3, March 2015, PP 51-58 ISSN 2347-3126 (Print) & ISSN 2347-3134 (Online) www.arcjournals.org Interpretation of the Subtext of Harold Pinter’s the Room, A Thematic Study Mona F. Hashish Northern Border University, Saudi Arabia [email protected] Keywords: Harold Pinter, subtext, silence, fear and violence. Harold Pinter (1930- 2008) is a modern British Noble-prize winning dramatist. The research tackles his first play The Room (1957). That play represents Pinter’s early subtle plays where he hides meanings within their folds. In his early phase, Pinter chooses to be silent, discreet and indirect in both language and characterization. The research studies the unspoken in The Room because it tells important and crucial information about the characters, their thoughts and their past. Pinter makes his play so ambiguous that it is not understood without analyzing what is said and what is not said. Moreover, the study treats the main themes in the play: alienation, violence, menace and fear. Therefore, the research investigates the subtext in order to reveal the embedded meanings of the text. The Room primarily discusses Rose’s tragedy that is unsaid. The protagonist’s reaction reflects her suffering. The paper manages to discover the reasons of her tragedy through studying her attitude, and analyzing her actions, reactions, silence and gestures. The Room is one of Harold Pinter‘s early plays that are vague and highly suggestive. John Brown calls Pinter‘s early plays –such as The Room (1957), The Birthday Party (1958), The Dumb Waiter (1959), The Caretaker (1960) and The Homecoming (1965) –‗interior plays‘ because they are all subtle and implicit (12).
  • A PSILLAS Biog Audiocraft

    A PSILLAS Biog Audiocraft

    Sound Designer: Mr Avgoustos Psillas Avgoustos established AudioCarft Scandinavia in 2020 after 12 years at Autograph Sound in London, where he worked as a sound designer. Autograph Sound is a leading British sound design and equipment hire company, responsible for numerous theatre productions in the UK and abroad, including: Hamilton, Les Misérables, Wicked!, Mamma Mia!, Book of Mormon, Marry Poppins, Matilda, Harry Potter and the cursed child and many others. Avgoustos’ designer credits for musical theatre and theatre: The Sound of Music Stockholm Stadsteater Circus Days and Night Malmö Opera & Circus Cirkör Matilda The Musical Royal Danish Theatre Funny Girl Malmö Opera Sweeney Todd Royal Danish Opera BIG The Musical Dominion Theatre, London Blues in the Night The Kiln Theatre Matilda The Musical Malmö Opera The Ferryman St James Theatre, on Broadway, NY Kiss Me Kate Opera North, London Coliseum Pippin Malmö Opera Elf The Musical The Lowry, Manchester BIG The Musical Theatre Royal Plymouth & Bord Gais, Dublin Oliver! The Curve, Leicester AGES The Old Vic, London Pygmalion Garrick Theatre, London Strangers on a Train Gielgud Theatre, London Spamalot The Harold Pinter Theatre, London Spamalot (Remount) London Playhouse EPIDEMIC The Musical The Old Vic, London Henry V Open Air Theatre Regent’s Park Hobson’s Choice Open Air Theatre Regent’s Park Winter’s Tale Open Air Theatre Regent’s Park AudioCraft Scandinavia AB | Svanvägen 59, 611 62, Nyköping, Sweden e: [email protected] | t: +44 79 50292095 | Organisation no: 559281-2035 | VAT
  • Cannes 2013 Contacts: BFI Film Fund T: +44 (0) 207 173 3223 E: Filmfundcoordinator@Bfi.Org.Uk W: Bfi.Org.Uk Screening in Directors’ Fortnight

    Cannes 2013 Contacts: BFI Film Fund T: +44 (0) 207 173 3223 E: [email protected] W: Bfi.Org.Uk Screening in Directors’ Fortnight

    CANNES 2013 contacts: BFI Film Fund T: +44 (0) 207 173 3223 E: [email protected] W: bfi.org.uk ScREENING IN DIRECTORS’ FORTNIGHT LAST DAYS ON MARS THE SELFISH GIANT director: Ruairi Robinson director: Clio Barnard producers: Michael Kuhn & Andrea Cornwell producer: Tracy O’Riordan screenplay: Clive Dawson (based on the short story screenplay: Clio Barnard The Animators by Sydney J. Bounds) cast: Conner Chapman, Shaun Thomas, Sean Gilder cast: Liev Schreiber, Elias Koteas, Romola Garai, Goran Kostic, Johnny Harris, Tom Cullen, Yusra THE SELFISH GIANT is a contemporary fable about 13 Warsama & Olivia Williams year old Arbor and his best friend Swifty. Excluded from school and outsiders in their own neighbourhood, the Official Screenings two boys meet Kitten, a local scrapdealer – the Selfish Mon 20th May 14.30 Théâtre Croisette Giant. They begin collecting scrap metal for him using a horse and cart. Swifty has a natural gift with horses Mon 20th May 22.00 Théâtre Croisette while Arbor emulates Kitten – keen to impress him and Thu 23rd May 22.00 Studio 13 make some money. However, Kitten favours Swifty, Fri 24th May 22.30 Cinéma Les Arcades leaving Arbor feeling hurt and excluded, driving a wedge between the boys. Arbor becomes increasingly greedy and exploitative, becoming more like Kitten. Tensions build, international sales: leading to a tragic event, which transforms them all. Focus Features International Résidence du Gray d’Albion 12, la Croisette, 2nd Floor Official Screenings T: +33 (0)4 93 39 66 20 Fri 17th May 9.00 Théâtre
  • The Diary of a Hounslow Girl National Tour 2016 Marketing Resource Pack

    The Diary of a Hounslow Girl National Tour 2016 Marketing Resource Pack

    THE DIARY OF A HOUNSLOW GIRL NATIONAL TOUR 2016 MARKETING RESOURCE PACK 1 Contents 1. About the Show 2. The Creative Team 3. Ambreen Razia, Actress and Writer 4. Press Quotes and Reviews 5. Target Audience & Selling Points 6. Show Copy 7. Social Media 8. Box Office Briefing 9. Press Release 10. Interview with Meliz Gozenler (Arc Theatre participant) 11. The Hounslow Girl Glossary 12. About Black Theatre Live 13. Tour Schedule Ambreen Razia Production Team Project Manager: Maeve O’Neill [email protected] Writer and Performer: Ambreen Razia [email protected] Tour Manager: Milan Govedarica [email protected] Publicity photographer - Talula Sheppard 2 The Diary of a Hounslow Girl The Diary of a Hounslow Girl is told through the eyes of a 16-year-old British Muslim Girl growing up in West London. From traditional Pakistani weddings to fights on the night bus this is a funny, bold, provocative play highlighting the challenges of being brought up as a young woman in a traditional Muslim family alongside the temptations and influences growing up in and around London. The Diary of a Hounslow Girl geared up to take on the world. A comic story of dreams, aspirations and coming of age. Background You've heard of an Essex Girl and even a Chelsea Girl but what is a Hounslow Girl? A Hounslow Girl has become a byword for young Muslim women who wear hooped earrings along with their headscarves, tussling with their traditional families while hustling their way in urban West London. Feisty young women grappling with traditional values, city life and fashion.
  • The Hothouse HAROLD PINTER

    The Hothouse HAROLD PINTER

    CRÉATION The Hothouse HAROLD PINTER 20 21 GRAND THÉÂTRE › STUDIO 2 CRÉATION The Hothouse HAROLD PINTER WEDNESDAY 24, THURSDAY 25, FRIDAY 26, TUESDAY 30 & WEDNESDAY 31 MARCH & THURSDAY 1 & FRIDAY 2, TUESDAY 6, WEDNESDAY 7, FRIDAY 9 & SATURDAY 10 APRIL 2021 › 8PM WEDNESDAY 7 & SATURDAY 10 APRIL 2021 › 3PM SUNDAY 11 APRIL 2021 › 5PM – Running time 2h00 (no interval) – Introduction to the play by Janine Goedert 30 minutes before every performance (EN). – This performance contains stroboscopic lights. 3 GRAND THÉÂTRE › STUDIO 4 With Tubb Pol Belardi Lamb Danny Boland Miss Cutts Céline Camara Lobb Catherine Janke Lush Marie Jung Roote Dennis Kozeluh Gibbs Daron Yates & Georges Maikel (dance) – Directed by Anne Simon Set design Anouk Schiltz Costume design Virginia Ferreira Music & sound design Pol Belardi Lighting design Marc Thein Assistant director Sally Merres Make-up Joël Seiller – Wardrobe Manuela Giacometti Props Marko Mladjenovic – Production Les Théâtres de la Ville de Luxembourg 5 GRAND THÉÂTRE › STUDIO THE HOTHOUSE The Hothouse is a play about unchecked (state)-power and the decisions leaders make – spurious decisions that are potentially dangerous in the name for the preservation of a society. Somewhere in an authoritarian state. Former military Colonel Roote runs an institution where bureaucracy rules and the inmates are reduced to numbers. When one Christmas day, the cantankerous Colonel is confronted by a double crisis with the death of one inmate and the pregnancy of another, he finds himself increasingly cornered and sees the system he obeys so respectfully slip away. The Hothouse is a blackly comic portrait of the insidious corruption of power and demonstrates how far people will go to keep a system alive that is long condemned to fail.
  • Think Night: London's Neighbourhoods from 6Pm

    Think Night: London's Neighbourhoods from 6Pm

    THINK NIGHT: LONDON’S NEIGHBOURHOODS FROM 6PM TO 6AM LONDON NIGHT TIME COMMISSION FOREWORD London is a world-class city. As such, of expert witnesses. In another world-first, it merits world-leading thoughts on all we commissioned new research to hear aspects of city life at night. from Londoners themselves about how they use the city between 6pm and 6am: what We are interested in London’s identity they do, what activities they take part in and at night. When we talk about night we crucially what more needs to be done to therefore consider it as broadly as we allow them to live their lives more fully. would the day. We have used a wide lens, looking at the wealth of activities that London is a dynamic and diverse ecosystem happen from 6pm to 6am. at night that goes far beyond commercial transactions. It incorporates the culture, Uniquely, London’s Night Time Commission character and atmosphere of our city. was established to build on London’s Londoners are more active between 6pm and strengths rather than to address a crisis. 6am, and have later bedtimes and a better Our focus goes well beyond the scope of quality of sleep, than anyone else in the other similar bodies that centre only on UK. Two-thirds of us regularly do everyday the night time economy. The Commission activities at night – errands, shopping, set itself a broad, holistic framework: to catching up with friends – and a staggering develop and help realise an ambitious 1.6 million of us usually work at night.
  • Sexual Identity in Harold Pinter's Betrayal

    Sexual Identity in Harold Pinter's Betrayal

    Table of Contents Introduction: …………………………………………………………………………………..1 The Question of Identity in Harold Pinter’s Drama Chapter One:………………………………………………………………………………….26 Strong Arm Her: Gendered Identity in Harold Pinter’s A Kind of Alaska (1982) Chapter Two:…………………………………………………………………………………79 The Indelible Memory: Memorial Identity in Harold Pinter’s Ashes to Ashes (1996) Chapter Three:……………………………………………………………………………..129 Eroded Rhetoric: Linguistic Identity in Harold Pinter’s One for the Road (1984) and Mountain Language (1988) Chapter Four: ……………………………………………………………………………….188 Chic Dictatorship: Power and Political Identity in Harold Pinter’s Party Time (1991) Chapter Five:…………………………………………………………………………………240 The Ethic and Aesthetic of Existence: Sexual Identity in Harold Pinter’s Betrayal (1978) Chapter Six:…………………………………………………………………………………..294 Crumbling Families: Familial and Marital Identity in Harold Pinter’s Celebration (2000) Conclusion:……………………………………………………………………………………350 Bibliography:…………………………………………………………………………………359 I II Acknowledgment I would like to express my special thanks and appreciation to my principal supervisor Dr. Christian M. Billing, who has shown the attitude and the substance of a genius. He continually and persuasively conveyed a spirit of adventure in questioning everything and leaving no stone unturned. You have been a tremendous mentor for me. I would like to thank you for your incessant encouragement, support, invaluable advice, and patience without which the completion of this work would have been impossible. Thank you for allowing me to grow as a researcher. Your advice on both research as well as my career have been priceless. I would also like to thank Dr. K.S. Morgan McKean without which this work would not have been completed on time. A special thanks to my family. Words cannot express how grateful I’m to my sweet and loving parents Mandy Khaleel & Hasan Ali who did not spare the least effort to support me throughout my study.
  • Screen International and Bfi London Film Festival Reveal Uk Stars of Tomorrow 2015

    Screen International and Bfi London Film Festival Reveal Uk Stars of Tomorrow 2015

    SCREEN INTERNATIONAL AND BFI LONDON FILM FESTIVAL REVEAL UK STARS OF TOMORROW 2015 London, Monday 5 October 2015: Screen International has today revealed its 2015 UK Stars of Tomorrow, a showcase of the UK and Ireland’s newest and most exciting actors, directors, writers and producers, eagerly-anticipated by the international film industry. They are being presented for the first time in a high-profile industry event at the BFI London Film Festival held in partnership with American Express (7-18 October). Following last year’s successful collaboration between the Festival and Stars of Tomorrow, this year’s talent will be introduced to leading lights from the international film industry in London for the Festival, including US casting directors, European and US producers, festival programmers and international filmmakers. The Stars of Tomorrow featured in a special photoshoot at BFI Southbank, published in industry trade magazine Screen International, will also be the special guests at an exclusive industry dinner during the Festival, hosted by British Council and the Casting Society of America (CSA). The 2015 UK Starts of Tomorrow announced today: Adelayo Adedayo, actor, made her mark in ITV’s Some Girls and appeared in feature films including Gone Too Far! (LFF 2013) and Unlocked; Aleem Khan, writer-director, shortlisted for a BAFTA award for his short Three Brothers is currently working on his first debut feature After Love; Alex Lawther, actor, a UK Critics’ Circle young British performer of the year award- winner as the young Alan
  • The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter

    The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter

    Ben Ferber The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter I have no doubt that history will recognize Harold Pinter as one of the most influential dramatists of all time, a perennial inspiration for the way we look at modern theater. If other playwrights use characters and plots to put life under a microscope for audiences, Pinter hands them a kaleidoscope and says, “Have at it.” He crafts multifaceted plays that speak to the depth of his reality and teases and threatens his audience with dangerous truths. In No Man’s Land, Pinter has Hirst attack Spooner, who may or may not be his old friend: “This is outrageous! Who are you? What are you doing in my house?”1 Hirst then launches into a monologue beginning: “I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were.”2 Pinter never fully resolves Spooner’s identity, but the mens’ actions towards each other are perfectly clear: with exacting language and wit, Pinter has constructed a magnificent struggle between the two for power and identity. In 1958, early in his career, Pinter wrote The Hothouse, an incredibly funny play based on a traumatic personal experience as a lab rat at London’s Maudsley Hospital, proudly founded as a modern psychiatric institution, rather than an asylum. The story of The Hothouse, set in a mental hospital of some sort, is centered around the death of one patient, “6457,” and the unexplained pregnancy of another, “6459.” Details around both incidents are very murky, but varying amounts of culpability for both seem to fall on the institution’s leader, Roote, and his second-in- command, Gibbs.