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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’. -
The Representation, Interpretation and Staging of Magic in Renaissance Plays from the Sixteenth Century Onwards
Ghent University Faculty of Arts and Philosophy The representation, interpretation and staging of magic in Renaissance plays from the sixteenth century onwards. A case study of William Shakespeare’s The Tempest, Macbeth and Cristopher Marlowe’s Doctor Faustus. Supervisor: Paper submitted in partial Professor Doctor fulfilment of the requirements for Sandro Jung the degree of “Master in de Taal- en Letterkunde: English-Spanish” by Tine Dekeyser August 2014 Word count: 27334 Dekeyser i Acknowledgments First of all, I would like to thank my supervisor, Professor Doctor Sandro Jung, for granting me the opportunity to continue working on the same topic of my BA-dissertation and for guiding me towards a more profound investigation of magic and the Renaissance society. Also, I want to thank Professor Jung for reading the many versions of this dissertation and for providing a lot of helpful suggestions throughout the year. Secondly, I would like to thank The British Museum for giving me permission to use their highly detailed engravings, without which this dissertation would not exist. Thirdly, I would like to thank my boyfriend and my mother for supporting me, listening to my dilemmas and calming me down when stress got the better of me. Also, I want to thank my boyfriend for helping me track down the movies I needed for my analyses. Dekeyser ii Table of Contents Acknowledgments ....................................................................................................................... i List of Illustrations ................................................................................................................... -
Rory Kinnear
RORY KINNEAR Film: Peterloo Henry Hunt Mike Leigh Peterloo Ltd Watership Down Cowslip Noam Murro 42 iBoy Ellman Adam Randall Wigwam Films Spectre Bill Tanner Sam Mendes EON Productions Trespass Against Us Loveage Adam Smith Potboiler Productions Man Up Sean Ben Palmer Big Talk Productions The Imitation Game Det Robert Nock Morten Tydlem Black Bear Pictures Cuban Fury Gary James Griffiths Big Talk Productions Limited Skyfall Bill Tanner Sam Mendes Eon Productions Broken* Bob Oswald Rufus Norris Cuba Pictures Wild Target Gerry Jonathan Lynne Magic Light Quantum Of Solace Bill Tanner Marc Forster Eon Productions Television: Guerrilla Ch Insp Nic Pence John Ridley & Sam Miller Showtime Quacks Robert Andy De Emmony Lucky Giant The Casual Vacancy Barry Fairbrother Jonny Campbell B B C Penny Dreadful (Three Series) Frankenstein's Creature Juan Antonio Bayona Neal Street Productions Lucan Lord Lucan Adrian Shergold I T V Studios Ltd Count Arthur Strong 1 + 2 Mike Graham Linehan Retort Southcliffe David Sean Durkin Southcliffe Ltd The Hollow Crown Richard Ii Various Neal Street Productions Loving Miss Hatto Young Barrington Coupe Aisling Walsh L M H Film Production Ltd Richard Ii Bolingbroke Rupert Goold Neal Street Productions Black Mirror; National Anthem Michael Callow Otto Bathurst Zeppotron Edwin Drood Reverend Crisparkle Diarmuid Lawrence B B C T V Drama Lennon Naked Brian Epstein Ed Coulthard Blast Films First Men Bedford Damon Thomas Can Do Productions Vexed Dan Matt Lipsey Touchpaper T V Cranford (two Series) Septimus Hanbury Simon Curtis B B C Beautiful People Ross David Kerr B B C The Thick Of It Ed Armando Iannucci B B C Waking The Dead James Fisher Dan Reed B B C Ashes To Ashes Jeremy Hulse Ben Bolt Kudos For The Bbc Minder Willoughby Carl Nielson Freemantle Steptoe & Sons Alan Simpson Michael Samuels B B C Plus One (pilot) Rob Black Simon Delaney Kudos Messiah V Stewart Dean Harry Bradbeer Great Meadow Rory Kinnear 1 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. -
A Midsummer Night's Dream”: a Director's Notebook Natasha Bunnell Old Dominion University
Old Dominion University ODU Digital Commons Institute for the Humanities Theses Institute for the Humanities Spring 2003 “A Midsummer Night's Dream”: A Director's Notebook Natasha Bunnell Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/humanities_etds Part of the Dramatic Literature, Criticism and Theory Commons, and the Literature in English, British Isles Commons Recommended Citation Bunnell, Natasha. "“A Midsummer Night's Dream”: A Director's Notebook" (2003). Master of Arts (MA), thesis, Humanities, Old Dominion University, DOI: 10.25777/d8jv-a035 https://digitalcommons.odu.edu/humanities_etds/29 This Thesis is brought to you for free and open access by the Institute for the Humanities at ODU Digital Commons. It has been accepted for inclusion in Institute for the Humanities Theses by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. A MIDSUMMER NIGHT’S DREAM: A DIRECTOR’S NOTEBOOK by Natasha Bunnell B. A. August 1997, Old Dominion University A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS HUMANITIES OLD DOMINION UNIVERSITY May 2003 Approved by: Christopher Hanna (Director) Erfime Hendrix (Mdmber) Jary Copyright © 2003 by Natasha Bunnell. All rights reserved. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1414392 Copyright 2003 by Bunnell, Natasha All rights reserved. ® UMI UMI Microform 1414392 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
360 ° Series
ON THE PLAY, PLAYWRIGHT, AND PRODUCTION VIEWFINDER: FACTS AND PERSPECTIVES 360 ° SERIES U S P R E M I E R E T H E V A L L E Y O F A S T O N I S H M E N T C O N C E I V E D A N D D I R E C T E D B Y P E T E R B R O O K A N D M A R I E - H É L È N E E S T I E N N E WWW.TFANA.ORG TABLE OF CONTENTS The Play 3 An Introduction from Peter Brook 4 Dialogues: From ‘The Key of Clear Green’ by Oliver Sacks, M.D. 7 Mandalas: An Installation Inspired by The Valley of Astonishment The Production 9 Dialogues: On the Making of The Valley Of Astonishment, An Interview With Peter Brook by James Woodall 11 Cast and Creative Team About Theatre For a New Audience 16 Mission and Programs 17 Major Supporters The Valley of Astonishmentis a C.I.C.T. / Théâtre des Bouffes du Nord production, co-produced by Theater for a New Audience, New York; Les Théâtres de la ville de Luxembourg; Théâtre d’Arras / Tandem Arras-Douai; Théâtre du Gymnase, Marseille; Warwick Arts Center; Holland Festival, Amsterdam; Attiki Cultural Society, Athens; Musikfest Bremen; Théâtre Forum Meyrin, Geneva; C.I.R.T. and Young Vic Theatre, London. The Valley of Astonishmentpremiered at Théâtre des Bouffes du Nord, Paris on April 29th, 2014. The producers would like to thank Franck Krawczyk, Carol Steen, Jon Adams, Daniel Tammet, Dr. -
Savoring the Classical Tradition in Drama
SAVORING THE CLASSICAL TRADITION IN DRAMA MEMORABLE PRESENTATIONS BY THE SHAKESPEARE GUILD I N P R O U D COLLABORATION WIT H THE NATIONAL ARTS CLUB THE PLAYERS, NEW YORK CITY THE ENGLISH-SPEAKING UNION JIM DALE ♦ Friday, January 24 In the 1950s and ’60s JIM DALE was known primarily as a singer and songwriter, with such hits as Oscar nominee “Georgy Girl” to his credit. Meanwhile he was earning plaudits as a film and television comic, with eleven Carry On features that made him a NATIONAL ARTS CLUB household name in Britain. Next came stage roles like 15 Gramercy Park South Autolycus and Bottom with Laurence Olivier’s National Manhattan Theatre Company, and Fagin in Cameron Mackintosh’s PROGRAM AT 6:00 P.M. Oliver. In 1980 he collected a Tony Award for his title Admission Free, But role in Barnum. Since then he has been nominated for Reservations Requested Tony, Drama Desk, and other honors for his work in such plays as Candide, Comedians, Joe Egg, Me and My Girl, and Scapino. As if those accolades were not enough, he also holds two Grammy Awards and ten Audie Awards as the “voice” of Harry Potter. We look forward to a memorable evening with one of the most versatile performers in entertainment history. RON ROSENBAUM ♦ Monday, March 23 Most widely known for Explaining Hitler, a 1998 best-seller that has been translated into ten languages, RON ROSENBAUM is also the author of The Secret Parts of Fortune, Those Who Forget the Past, and How the End Begins: The Road to a Nuclear World War III. -
King Lear on Screen Characterisation King Lear King Lear on Screen
King Lear King Lear on Screen Characterisation King Lear King Lear on Screen Film Versions King Lear (2008) ‘Ian McKellen gives a tour-de-force performance as Shakespeare’s tragic titular monarch in this special television adaptation of the Royal Shakespeare Company production of one of the playwright’s most enduring and haunting works.’ https://www.youtube.com/watch?v=9iyekz9zy_c King Lear (1971) Paul Scofield is the grief-maddened monarch in Peter Brook’s film version. Shot starkly in black and white, minimally scored and imbued with an almost Beckettian gloom, the work has a raw, rough- hewn medievalism perfectly suited to the tragedy. www.imdb.com/title/tt0067306 Excerpts from Film Adaptations The Guardian: a YouTube roundup. http://www.theguardian.com/stage/theatreblog/2014/jan/13/king-lear-simon-russell-beale- national-youtube Actors and Directors Discuss King Lear ‘Understanding King Lear’: actor and director Ian McKellen explains his understanding of Lear’s character. https://www.youtube.com/watch?v=ahFtoCq6CHw ‘How does Lear’s Perception of himself change?’ Cyclone Rep actor David Peare answers the question. https://www.youtube.com/watch?v=V28zr5fQR84 ‘Talking Goneril, Regan and Cordelia’ (National Theatre): Fiona Mountford talks to Kate Fleetwood, Anna Maxwell Martin and Olivia Vinall about playing the three daughters in Lear, being directed by Sam Mendes and performing in the Olivier Theatre. https://www.youtube.com/watch?v=IV7KFy8I39w ‘Talking Gloucester, Edmund and Edgar’ (National Theatre): Stephen Boxer (Gloucester), Sam Troughton (Edmund) and Tom Brooke (Edgar) talk to Mark Leipacher about the National Theatre’s production of King Lear directed by Sam Mendes. -
Timberlake Wertenbaker - Cv
TIMBERLAKE WERTENBAKER - CV Timberlake Wertenbaker is working on new commissions for the Royal Shakespeare Company, Bolton Octagon and Salisbury Playhouse. OUR COUNTRY'S GOOD will be produced at the National Theatre in 2015, directed by Nadia Fall. THEATRE: JEFFERSON'S GARDEN 2015 Watford Palace Theare, world premiere Dir: Brigid Larmour THE ANT AND THE CICADA (RSC) 2014 Midsummer Madness Dir: Erica Whyman OUR AJAX (Southwark Playhouse / Natural Perspective) 2013 Dir: David Mercatali Original play, inspired by the Sophocles play OUR COUNTRY'S GOOD (Out Of Joint) Dir: Max Stafford-Clark UK Tour & St James Theatre, London - 2013 US Tour - 2014 ANTIGONE (The Southwark Playhouse) 2011 Dir: Tom Littler THE LINE (The Arcola Theatre) 2009 Dir: Matthew Lloyd JENUFA (The Arcola Theatre) 2007 Dir: Irena Brown GALILEO'S DAUGHTER (Theatre Royal, Bath) 2004 Dir: Sir Peter Hall CREDIBLE WITNESS (Royal Court Theatre) 2001 Dir: Sacha Wares ASH GIRL (Birmingham Rep) 2000 Dir: Lucy Bailey (Adaptation of Cinderella) AFTER DARWIN (Hampstead Theatre) 1998 Dir: Lindsay Posner THE BREAK OF THE DAY (Royal Court/Out of Joint tour) 1995 Dir: Max Stafford-Clark OUR COUNTRY'S GOOD (Broadway) 1990 Dir: Mark Lamos Winner: New York Drama Critics Award for best foriegn play THREE BIRDS ALIGHTING ON A FIELD (Royal CourtTheatre) 1991 Dir: Max Stafford-Clarke Winner: Writers Guild Award Winner: Susan Smith Blackburn prize THE LOVE OF THE NIGHTINGALE (RSC) 1988 Dir: Garry Hines OUR COUNTRY'S GOOD (Royal Court Theatre) 1985 Dir: Max Stafford-Clarke Winner: Olivier Award Play -
Richard Cant
Richard Cant Photo: Wolf Marloh Stage 2019, Stage, Quentin Crisp, AFTER EDWARD, Globe Theatre, London, Brendan O'Hea 2019, Stage, Earl of Lancaster, EDWARD THE SECOND, Globe Theatre, London, Nick Bagnall 2018, Stage, Jeremy Crowther, MAYDAYS, Royal Shakespeare Company, Owen Horsley 2017, Stage, DeStogumber/ Poulengey, SAINT JOAN, Donmar, Josie Rourke 2016, Stage, One, STELLA, LIFT/Brighton Festival, Neil Bartlett 2015, Stage, Aegeus, MEDEA, Almeida, Rupert Goold 2015, Stage, Bernie, MY NIGHT WITH REG, Donmar Warehouse/ Apollo Theatre, Rob Hastie 2015, Stage, Tudor/Male Guard/Assistant, THE TRIAL, The Young Vic, Richard Jones 2013, Stage, Friedrich Muller, WAR HORSE, NT at New London Theatre, Alex Sims, Kathryn Ind 2010, Stage, Page of Herodias, SALOME, Headlong, Jamie Lloyd 2008, Stage, Thersites, TROILUS AND CRESSIDA, Cheek by Jowl, Declan Donnellan 2007, Stage, Pisanio, CYMBELINE, Cheek by Jowl, Declan Donnellan 2002, Stage, Lord Henry, ORIGINAL SIN, Sheffield Crucible Theatre, Peter Gill 2000, Stage, Darren, OTHER PEOPLE, Royal Court Theatre, Dominic Cooke 2000, Stage, Brian/Javid, PERA PALAS, Gate, Sacha Wares 2000, Stage, SHE STOOPS TO CONQUER, New Kent Opera, Hettie McDonald 2000, Stage, Sparkish, THE COUNTRY WIFE, Sheffield Crucible Theatre, Michael Grandage 1999, Stage, Prior, ANGELS IN AMERICA, Library, Manchester, Roger Haines 1997, Stage, Arviragus, CYMBELINE, Royal Shakespeare Company, Adrian Noble 1997, Stage, Rosencrantz, HAMLET, RSC, Matthew Warchus 1997, Stage, Balthasar, MUCH ADO ABOUT NOTHING, RSC, Michael Boyd 1996, Stage, -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Dialect Coaching for Screen 2014/2015/2016 Dialect and Voice
Dialect Coaching for Screen 2014/2015/2016 Nov 16 – Feb 2017 Roseline Productions Dialect Coach for Will Ferrell, John C Reilly: Holmes and Watson Nov 2016 Sky Dialect Coach Bliss Nov 2016 BBC Dialect Coach for Zombie Boy: Silent Witness Aug 2016 Sky Dialect Coach for Iwan Rheon and Dimitri Leonidas: Riviera Jan/Feb 2016 Channel 4 Dialect Coach: ADR: Raised By Wolves directed by Ian Fitzgibbon Oct 2015 Jellylegs/Sky 1 Dialect Coach: Rovers directed by Craig Cash Oct 2015 Channel 4 Dialect Coach: Raised By Wolves directed by Ian Fitzgibbon Sept 2015 LittleRock Pictures/Sky Dialect /voice coach: Elizabeth, Michael and Marlon (Joseph Fiennes, Stockard Channing, Brian Cox) January – May 2015 BBC2/ITV, London Dialect Coach (East London): Cradle to Grave – directed by Sandy Johnson January – April 2015 Working Title/Sky Dialect Coach (Gen Am, Italian): You, Me and the Apocalypse – TV directed by Michael Engler/Saul Metzstein September 2014 Free Range Films Ltd, London Dialect/voice coach (Leeds): The Lady in the Van – Feature directed by Nicholas Hytner May 2014 Wilma TV, Inc. for Discovery Channel, New York Dialect Coach (Australian): Amerikan Kanibal - Docudrama February/March 2014 Mad As Birds Dialect Coach (Various Period US accents): Set Fire to the Stars - Feature directed by Andy Goddard February and June 2014 BBC 3 Dialect Coach (Liverpool and Australian): Crims - TV directed by James Farrell Dialect and Voice Coaching for theatre 2016 Oct 2016 Park Theatre, Dialect support (New York: Luv directed by Gary Condes Oct 2016 Kings Cross -
Visual Media Use and Intermediality in Shakespeare Productions
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository STRANGE BEDFELLOWS? VISUAL MEDIA USE AND INTERMEDIALITY IN SHAKESPEARE PRODUCTIONS By SHARI LYNN FOSTER A thesis submitted to the University of Birmingham for the degree of Masters of Literature College of Arts and Law School of Humanities Shakespeare Institute University of Birmingham October 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Drawing on archive material, reviews and personal observation, this thesis examines the use of visual media in stage productions of Shakespeare’s plays. Utilizing examples from the period between 1905 and 2007, the thesis focuses on intermedial productions, explores the media use in Shakespeare productions, and asks why certain Shakespeare plays seem to be more adaptable to the inclusion of visual media. Chapter one considers the technology and societal shifts affecting the theatre art and the audience and Klaus Bruhn Jensen’s three level definition of intermediality which provides a framework for the categorizing the media usage within Shakespeare productions.