The Importance of Being Earnest
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Colm Feore Essais Et Bonheurs Marie-Claude Fortin
Document generated on 09/28/2021 4:56 a.m. Entre les lignes Le magazine sur le plaisir de lire au Québec Colm Feore Essais et bonheurs Marie-Claude Fortin Traduire Volume 5, Number 2, Winter 2009 URI: https://id.erudit.org/iderudit/682ac See table of contents Publisher(s) Les éditions Entre les lignes ISSN 1710-8004 (print) 1923-211X (digital) Explore this journal Cite this article Fortin, M.-C. (2009). Colm Feore : essais et bonheurs. Entre les lignes, 5(2), 14–17. Tous droits réservés © Les éditions Entre les lignes, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ENTRE LES LIGNES Colm Feore Essais et bonheurs Il a incarné tour à tour, et toujours avec autant de talent, Glenn Gould, Pierre Elliott Trudeau, Macbeth et le stoïque Martin Ward, le «bon» de Bon Cop, Bad Cop. L'été prochain, à Stratford, Ontario, où il habite, il jouera Cyrano de Bergerac dans une production dirigée par son épouse, Donna Feore. Entre deux épisodes du tournage de la série « 24 », à L.A., et le tour nage à Montréal du film The Trotsky, de Jacos Tierney, Colm Feore nous parle des livres de sa vie. -
STUDY GUIDE TOOLS for TEACHERS Sponsored By
2014 STUDY GUIDE TOOLS FOR TEACHERS sponsored by Tom McCamus, Seana McKenna Support for the 2014 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner Production support is generously provided by Karon Bales & Charles Beall Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Cast of Characters ...................................................................................................... 6 Plot Synopsis ............................................................................................................... 7 Sources and Origins .................................................................................................... 8 Stratford Festival Production History ......................................................................... 9 The Production Artistic Team and Cast ............................................................................................... 10 Lesson Plans and Activities Creating Atmosphere .......................................................................................... 11 Mad World, Mad Kings, Mad Composition! ........................................................ 14 Discussion Topics .............................................................................................. -
Text Pages Layout MCBEAN.Indd
Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
Uvisno "Acting Is Handed on from Actor to Actor
Inaide the Stratford Festival uviSNO "Acting is handed on from actor to actor. It's the only way to do it... from observing the people who came before you. That is really the way theatre goes" In OFFSTAGE ONSTAGE: Inside the Stratford Festival, Stratford cameras go backstage during an entire season to capture the creative spirit at the heart of a treasured Canadian theatre company. For five decades, the Festival's stage has been home to the world's great plays and performers. Award-winning director John N. Smith (The Boys of St. Vincent), given unprecedented access backstage, offers a fascinating look at the personalities and the production process behind live theatre performance. Peek into William Hutt's dressing room as he does his vocal warm-ups before Twelfth Night. Watch Martha Henry command the stage in Who's Afraid of Virginia Woolf? Observe an up-and-coming generation of young performers who learn from the masters. Meet dozens of artists, craftspeople and technicians who reveal their secrets, from shoemaking, sword fighting and sound effects to makeup and mechanical monkeys. Join us behind the scenes of Canada's premier classical theatre institution ... and discover the love for the stage that drives this artistic company. Resource guide on reverse side, DIRECTOR: John N. Smith PRODUCER: Gerry Flahive 83 minutes Order number: C9102 042 Closed captioned. A decoder is required. TO ORDER NFB VIDEOS, CALL TODAY! -800-267-7710 (Canada) 1-800-542-2164 (USA) © 2002 National Film Board of Canada. A licence is required for any reproduction, television broadcast, sale, rental or public screening. -
Stratford Festival 2021 Season Guide
STUDIO THEATRE Three Tall Women FESTIVAL THE THEATRE CANOPY R + J CABARETS Why We Tell the Story 2021 You Can’t Stop the Beat Play On! Freedom Finally There’s Sun TOM PATTERSON SEASON THEATRE CANOPY A Midsummer Night’s Dream The Rez Sisters I Am William GUIDE Serving Elizabeth JULY – OCTOBER stratfordfestival.ca 1.800.567.1600 | 519.273.1600 1 1 800 567 1600 | 519 273 1600 STRATFORDFESTIVAL.CA 2 But far from placing limitations on our creativity, the need to work within the parameters required of us – with shorter performances, smaller casts (no more than eight actors WORLDS WITHOUT WALLS per show) and physical distancing on stage – has stimulated our artists to new Two young people are in love. They’re next-door neighbours, but their families don’t get feats of imagination as they devise novel on. So they’re not allowed to meet: all they can do is whisper sweet nothings to each modes of performance. Our 2021 playbill other through a small gap in the garden wall between them. Eventually, they plan to run o encompasses Shakespeare, music, modern together – but on the night of their elopement, a terrible accident of fate impels them both classics and new work, presented in ways to take their own lives. you’ve never seen at Stratford before. Sound familiar? It’s the story of Pyramus and Thisbe, as told by the ancient Roman poet And it’s not only the pandemic that Ovid, one of Shakespeare’s favourite authors. Most of us know it from the comical play- has opened us up to new ideas and within-the-play in A Midsummer Night’s Dream – but it’s also essentially the same story experiences. -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
The Upstart Crow, Volume XXIX
Clemson University TigerPrints Upstart Crow (Table of Contents) Clemson University Press Fall 2010 The Upstart Crow, Volume XXIX Elizabeth Rivlin, Editor Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/upstart_crow Recommended Citation Rivlin, Editor, Elizabeth, "The Upstart Crow, Volume XXIX" (2010). Upstart Crow (Table of Contents). 30. https://tigerprints.clemson.edu/upstart_crow/30 This Article is brought to you for free and open access by the Clemson University Press at TigerPrints. It has been accepted for inclusion in Upstart Crow (Table of Contents) by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Vol_XXIX Clemson University Digital Press Digital Facsimile Vol_XXIX Shakesp ear ean Hearing guest edited by Leslie Dunn and Wes Folkerth Contents Essays Leslie Dunn and Wes Folkerth Editors’ Introduction to “Shakespearean Hearing” ....5 Erin Minear “A Verse to this Note”: Shakespeare’s Haunted Songs .................... 11 Kurt Schreyer “Here’s a knocking indeed!” Macbeth and the Harrowing of Hell ... 26 Paula Berggren Shakespeare and the Numbering Clock ..........................................44 Allison Kay Deutermann “Dining on Two Dishes”: Shakespeare, Adaptation, and Auditory Reception of Purcell’s Th e Fairy-Queen ..................................... 57 Michael Witmore Shakespeare’s Inner Music ................................................. 72 Performance Reviews Michael W. Shurgot and Peter J. Smith Th e 2010 Season at London’s Globe Th eatre .........................................................................................................83 Sara Th ompson Th e Royal Shakespeare Company 2009:As You Like It ............. 99 Owen E. Brady Th e 2009 Stratford Festival:Macbeth and Bartholomew Fair ..103 Michael W. Shurgot Th e 2009 Oregon Shakespeare Festival ..............................111 Bryan Adams Hampton Th e 2010 Alabama Shakespeare Festival:Hamlet ..... -
Mongrel Media Presents
Mongrel Media Presents Language: English Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/preggoland LOGLINE A 35 year-old woman pretends to be pregnant to fit in with her friends. SHORT SYNOPSIS When 35-year-old Ruth ruins a baby shower with her juvenile antics, her old high school cronies- who are all mothers now-promptly de-friend her. But when she is later mistakenly thought to be ‘with child’ she is inexplicably welcomed back into the group. Although she initially tries to come clean, the many perks of pregnancy are far too seductive to ignore. Preggoland is a comedy about our societal obsession with babies and the lengths we’ll go to be part of a club. SYNOPSIS At 35, Ruth (Sonja Bennett) hasn’t changed much since high school. She’s still partying in parking lots, working as a cashier in a supermarket, and living in her father’s basement. When Ruth gets drunk at a friend’s baby shower and ruins it with her juvenile antics, her old high school cronies – who are now all married with children – suggest she might want to find some friends her own mental age. Ruth is devastated. Just when Ruth hits rock bottom, she runs into her friends who mistakenly think she’s pregnant. -
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. -
2020 Visitors Guide a Storied Past, a Glorious Future: a Season to Celebrate the Elixir of Power
2020 VISITORS GUIDE A STORIED PAST, A GLORIOUS FUTURE: A SEASON TO CELEBRATE THE ELIXIR OF POWER Irresistible – that’s the only way to describe the variety, quality and excitement that make up the Stratford Festival’s 2020 season. First, there is our stunning new Tom Patterson Theatre, with ravishingly beautiful public spaces and gardens. Its halls, bars and café will be filled throughout the season with music, comedy nights, panel discussions and outstanding speakers to make our Festival even more festive. In the wake of an election in Canada, and in anticipation of one in the U.S., our season explores the theme of Power. Recent years have seen a growing acceptance of the naked use of power. Brute force is in vogue on the world stage, from international trade to immigration and the arms race – and, closer to home, in elections, in the workplace and even in social media engagements. Through comedy, tragedy, song, dance and farce, the plays and musicals of our 2020 season explore the dynamics of power in society, politics, art, gender and family life. In our new Tom Patterson Theatre, we present the two plays that launched the Stratford adventure in 1953: All’s Well That Ends Well and Richard III. The new venue is also home to a new musical, Here’s What It Takes; a new movement-based creation, Frankenstein Revived; and a series of improvisational performances – each one unique and unrepeatable – called An Undiscovered Shakespeare. But the fun isn’t all confined to one theatre. Our historic Festival Theatre showcases two of Shakespeare’s greatest plays, Much Ado About Nothing and Hamlet, as well as Molière’s brilliant satire The Miser and the first major new production in decades of the mischievous musical Chicago. -
Cymbeline (Stratford Shakespeare Festival) by Sarah Neville
Cymbeline (Stratford Shakespeare Festival) by Sarah Neville. Written on 2012-10-13. First published in the ISE Chronicle. For the production: Cymbeline (2012, Stratford Festival of Canada, Canada). Cymbeline is Antoni Cimolino’s first production since it was announced this spring that he was to become the Stratford Festival’s next artistic director. Cimolino, a 25 year Stratford veteran, offers audiences a refreshingly clear Cymbeline that belies its reputation as a complex, difficult-to-stage play, offering a narrative of thwarted lovers, jealous kings, evil queens, pompous rivals, sinister Italians, honourable servants and noble shepherds that should be relatively straightforward to those familiar with the greatest hits of the Shakespeare canon, bringing together plot strands from plays as various as King Lear, The Winter’s Tale, As You Like It and Much Ado About Nothing. By allowing the play’s sombre notes of infidelity, violence and political submission to be regularly punctured by a juxtaposing intelligent humour, Cimolino somehow manages to unify the sprawling and uneven script for a modern audience unfamiliar with the idiosyncrasies of Jacobean style. A significant portion of Cymbeline‘s pleasures result from sophisticated, thoughtful casting: comic touches like a lurid, gleefully moronic Cloten (Mike Shara), a shrewd but nonetheless doddering Doctor Cornelius (Peter Hutt) and a liquid-smooth Iachimo (Tom McCamus) serve to balance the audience’s unease at Posthumus’ (Graham Abbey) wagering on his wife’s fidelity, or Cymbeline’s (Geraint Wyn Davies) imprisonment of his daughter once he discovers Innogen (Cara Ricketts) and Posthumus’ surreptitious marriage. As the title character, the barrel- chested Davies spends the first half of the play barefoot, his kingly duds reminiscent of nothing to much as a bathrobe, while his evil, nameless Queen (Yanna McIntosh), dressed to the nines in familiar Elizabethan ruff collars and cuffs, plots to poison Innogen and engineer her son Cloten’s rise to power. -
Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr.