DOCSLIB.ORG

ALRA Brochure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ALRA Brochure PROSPECTUS CONTENTS THE ALRA MISSION The ALRA Misson 02 ALRA (The Academy of Live & Recorded Who Trained at ALRA? 03 Arts) aims to equip actors with the Campuses 05 fundamental skills for a productive and BA (Hons) Acting – 3 Years 07 creative life in the performance industries. MA Professional Acting – 15 Months 11 ALRA is dedicated to helping students of all MA Directing – 2 Years 15 backgrounds and ages to enter the world of Foundation Acting – 1 Year 19 live and recorded arts. Other Courses 21 ALRA has a distinguished record of What help will I get with my studies? 23 producing professionals prepared and ready Fees and Funding 24 to work and will continue to enhance that Outreach / How do I get a place at ALRA? 25 record in collaboration with the industry. To achieve this we will: • Provide a specialist vocational education for students whose primary goal is to work in the performing arts • Further expand and develop ALRA’s links with the entertainment industry • Provide excellence in teaching, learning, student achievement and personal development • Constantly innovate and improve how performance practitioners learn and apply their knowledge HISTORY ALRA was founded in 1979 by Sorrel Carson and Caryll Ziegler. It was the first drama school to offer a training which encompassed all media: Live Theatre, TV & Film and Radio. ALRA is CDET and FDS accredited. All production photos by Helen Murray. 2 WHO TRAINED AT ALRA? WHO TRAINED AT ALRA? Amongst many other successful graduates, ALRA has trained: MIRANDA HART JIMMY AKINGBOLA SARAH PARISH DENISE GOUGH Miranda studied on the Postgraduate Jimmy graduated from the Three Year Sarah trained on the Three Year Acting Graduating from ALRA in 2003, Denise course at ALRA and has since become Acting course in 1999. His TV roles include course and has since become well known made her television debut in Casualty one of the most recognisable names Antoine Malik in Holby City and Mick in for her TV roles which include; Anna and has since appeared in many popular in British comedy. She earned her BBC comedy Rev. He starred alongside Ian Rampton in W1A, Cath Atwood in series from New Tricks to Stella. She was reputation as a stand-up comedian McKellen in the world premiere of Mark Broadchurch, Cheryl in Trollied, Dawn nominated for The Milton Shulman Award at The Edinburgh Festival and on Ravenhill’s play The Cut and went on to Rudge in Peak Practice, Allie Henshall in for Outstanding Newcomer (2012), at the the London stand-up circuit. take the title role in Frantic Assembly’s Cutting It, GP Katie Roden in Mistresses, Evening Standard Theatre Awards for her acclaimed production of Othello. He won Pasiphae in Atlantis and as a guest lead performances in Eugene O’Neill’s Desire She first came to prominence with her a TMA Award for his performance in Joe in Doctor Who. Under the Elms at the Lyric Hammersmith Radio 4 show Miranda Hart’s House Party Penhall’s Blue/Orange. and Nancy Harris’s Our New Girl at the and the BBC comedy Not Going Out. In 2006, she starred alongside Jude Law Bush Theatre. Miranda’s sitcom Miranda on BBC2 earned He is co-founder of TriForce Promotions, and Cameron Diaz in The Holiday and her two BAFTA nominations, three British which seeks to develop young talent and took a lead role in Sex, the City and Me. Denise made her National Theatre Comedy Awards and an RTS Award. hosts networking events for actors, writers debut in 2015 in the lead role of Duncan and producers as well as workshopping Macmillan’s People, Places and Things, She made her West End debut in 2017 new writing with the BBC. directed by Jeremy Herrin. For this role, as Miss Hannigan in the musical Annie. she won an Oliver Award for Best Leading Jimmy is Patron of ALRA South. Actress (2016). She returned to the National Theatre in April 2017 playing the role of Harper in Marianne Elliot’s revival of Tony Kushner’s seminal play Angels in America. 3 4 CAMPUSES CAMPUSES ALRA NORTH ALRA SOUTH Our campus in Wigan provides an excellent the Liverpool Everyman, the West Yorkshire Our home in London is at the Royal Victoria Trains to Waterloo and Victoria leave location for students to travel to and from Playhouse, Bolton Octagon and the theatre Patriotic Building, a magnificent Grade every few minutes and take less than Liverpool and Manchester. With the company Northern Broadsides. The school II listed Victorian Gothic building on 10 minutes to reach their destinations. development of Media City and the BBC’s is just five minutes from the main high the edge of Wandsworth Common, There are also direct trains to Shepherd’s move to Manchester, there is a strong street – Standishgate – with its shops, bars, South West London. This is where ALRA Bush and Westfield Shopping Centre. national drama output from BBC Radio clubs and the Grand Arcade shopping has been based for the last 30 years. 4 and Granada TV studios. Increasingly, centre. Wigan Wallgate and Wigan North There is excellent access to the city Although some students might be able agents and casting directors are choosing Western Stations are a 5 minute walk centre for visits to West End theatres, to live at home and commute to ALRA to base themselves in Manchester and away. The running costs in Wigan are fringe theatres and London nightlife. South, most choose to rent properties the surrounding area. Some of the most less expensive than London, which is together in the nearby areas. ALRA holds exciting theatre in the UK is produced in reflected in ALRA’s tuition fees for the Clapham Junction is just a ten-minute Accommodation Days to help with this. the North and Wigan is surrounded by North Campus. Living costs in Wigan walk away and has an array of shops, theatres such as the Royal Exchange, are also cheaper. restaurants and bars. 5 6 COURSES The BA (Hons) Acting programme of study combines practical actor training BA (HONS) ACTING with theoretical study and research 3 YEARS methodologies. This vocational course aims to equip students to operate effectively in a highly competitive artistic industry. ALRA has a diverse range of specialist tutors who bring out the very best in each individual student. ALRA provides the highest quality training for students aiming to follow a career as an actor. Based in both Wandsworth, London and Wigan, Greater Manchester, our actor training covers TV & film acting for camera from week one to the end of training. Students study movement, voice, acting technique, text, stage combat, radio and many other elements required to work as a professional actor. 3 Year Acting students have industry facing opportunities from their second year and showcases and/or panel events in both London and Manchester in their third year – regardless of which campus they choose to study at. 8 BA (HONS) ACTING 3 YEARS Based at either of the ALRA campuses, • Acting for Stage – Working with a To apply you must be: this is a full-time course delivered over professional director and supported by • 18 years old at the start of the three years. a stage management team, students course (there is no upper age limit prepare and rehearse productions which for applications) Using industry-standard facilities and a are performed for public and industry • Have 112 UCAS tariff points (NB – world-class training curriculum, students audiences exceptional ability and/or considerable are taught in groups of around 14 to • Showcase – Working with a professional life/work experience will be taken 17 students through a combination director or casting director, short scenes into consideration) of rehearsal, workshops, lectures are rehearsed and performed in a • If English is not your first language you and seminars. London and Manchester to an industry must fulfil the language requirements as audience set out on the ALRA website The course includes: • Personal Research Project – Students • Acting – Through a combination of create an original live theatre The BA (Hons) Acting is validated by practical and theoretical classes and performance or a recorded piece for St Mary’s University, London. Students who Scene Study presentations film, television or radio show the most potential at audition are • Actor Voice – Taught by qualified voice eligible for the Level 6 Professional Acting specialists with extensive experience, There are typically 34 contact qualification awarded by Trinity College, using accepted methodologies hours each week consisting of: London in addition to the BA (Hons) • Actor Movement – Taught by movement • 21 hours of lessons Acting. Means tested funding is available specialists qualified in movement to • 11 hours of rehearsal from DaDA (Dance and Drama Awards). Masters level or equivalent in • 2 hours of lectures conservatoire international training • 30 minutes of tutorials Applications should be made online programmes. This module ranges from • Some independent learning via www.alra.co.uk/courses/how-to- a core understanding of how the body apply/online-application works to application of movement to Independent learning is required and character through a range of can vary. When not attending timetabled methodologies sessions, students are expected to • Stage Combat – An intensive training memorise lines, research character and experience, assessed through one solo other aspects of the learning content movement presentation and one group which is then evidenced through blogging, presentation, leading to certificated vlogging or written notation. qualifications • Contextual Studies – An introduction to All learning is supported with access technology and industry expectations in to printed texts on site and thousands preparation for showcasing skills of digital texts through the college • Acting for Camera – Led by a subscriptions.
Load more

Recommended publications
  • La Biennale Di Venezia Presents a Film by Luke Seomore and Joseph Bull Blood Cells Synopsis
    LA BIENNALE DI VENEZIA PRESENTS A FILM BY LUKE SEOMORE AND JOSEPH BULL BLOOD CELLS SYNOPSIS Adam has lived a rootless existence since his family’s farm was destroyed by the Foot & Mouth epidemic of 2001. His life imploded and he abandoned his family after a single devastating incident. He has spent the years since on the nomadic fringes of British society, cycling through transitory jobs and transitory relationships, adrift from his family and past. When his younger brother Aiden reaches out to him to announce the birth of his first child – Adam is about to become an uncle – there is an ultimatum attached: come home now, or never come home again. Adam embarks on a journey home that is at once tortured and exhilarating, a panoramic tour through the broken and beautiful margins of Britain. As eruptions from his secret past begin to emerge, Adam attempts to break free from a self-imposed exile that must now end before it swallows him for good. IN CONVERSATION WITH JOSEPH BULL (WRITER/DIRECTOR) AND LUKE SEOMORE (WRITER/DIRECTOR/COMPOSER) How did the two of you get started as filmmakers? What was the original inspiration for Blood Cells? Joseph Bull: We met at art college and started working together. JB: A strong memory of burning cattle on the news during the Initially it was exploring photography and experimental films which we 2001 Foot and Mouth outbreak in the UK, the pyres against an projected for musicians’ live performances. This led to making more eerie half-light. Fires stretching out across the horizon, it really felt structured social documentaries and writing.
    [Show full text]
  • Bυ Mark Ravenhill
    BY MARK RAVENHILL Study Guide Written by Sophie Watkiss Edited by Hannah Clifford This programme has been made possible by the generous support of Universal Consolidated Group 1 Contents 1. Cast and Creative Team 2. The work of Mark Ravenhill Key productions Background information 3. Commentary and analysis of THE CUT An introduction to THE CUT Scene One Scene Two Scene Three 4. Ideas for further practical work and study 2 section 1 Cast and Creative Team Cast: John Jimmy Akingbola Mina Emma Beattie Stephen Tom Burke Susan Deborah Findlay Paul Ian McKellen Gita Bindu de Stoppani Creative Team: Director Michael Grandage Designer Paul Wills Lighting Designer Paule Constable Music & Soundscore Adam Cork 3 section 2 The work of Mark Ravenhill Key productions 1993 Close to You London New Play Festival 1994 Fist Part of a season of short plays, Finborough 1996 Shopping and Fucking Out of Joint/Royal Court 1997 Faust is Dead Actors’ Touring Company/Lyric Hammersmith 1998 Handbag Actors’ Touring Company/Lyric Hammersmith 1999 Some Explicit Polaroids Out of Joint/New Ambassadors 2002 Mother Clapp’s Molly House National Theatre (NT) and West End 2003 Totally Over You Shell Connections Festival at the NT 2005 Citizenship Shell Connections Festival at the NT Background information ‘I’ve always thought of myself as someone who makes plays – not a writer as such. I never wrote teenage poetry, novels, short stories. I don’t even write letters. I don’t consider myself to be particularly literary – beyond enjoying reading a good book.’ Mark Ravenhill1 Ten years ago Mark Ravenhill’s play Shopping and Fucking took the theatre by storm.
    [Show full text]
  • Vision 2015-2018 London’S Most Vibrant Venue for New Theatre, Comedy and Cabaret
    VISION 2015-2018 LONDON’S MOST VIBRANT VENUE FOR NEW THEATRE, COMEDY AND CABARET. 3 SOHO THEATRE’S MISSION IS TO: CONTENTS PRODUCE VISION NEW WORK CORE DISCOVER WHAT THE WORK AND NURTURE HOW DISCOVER, DEVELOP, PRODUCE NEW WRITERS WHO AUDIENCES & ARTISTS AND ARTISTS WHERE DEAN ST & ELSEWHERE TARGET GROWTH AND DEVELOP NEW AUDIENCES VALUES Chair of Board: Nicholas Allott OBE Artistic Director: Steve Marmion Executive Director: Mark Godfrey SUMMARY 2 La Bohème, 2010 Soho Theatre and OperaUpClose (associate company) 3 2011 Olivier Award winner for Best New Opera VISION Over the next three years... Over the last five years we WE WANT TO MAKE have almost trebled our audiences, opened a new MORE WORK venue and produced more work than ever before. WE WANT TO MAKE Each year we have over BETTER WORK 2000 performances on our stages and audiences of more than 220,000 people WE WANT see our work. MORE PEOPLE TO SEE IT 4 Utopia, 2012 Soho Theatre and Newcastle Live (associate venue) 5 “If you’re putting on stuff that’s a regurgitation of a newspaper article for people who’ve already read it, and already agree, then nothing changes – it’s basically an act of mutual masturbation – very nice but doesn’t make the world better.” “We want to make things WHAT you’ve never seen before.” THE WORK QUALITY IS OUR MAIN CRITERIA THEATRE COMEDY DOES NOT BORE DOES NOT LEAVE THE AUDIENCE CABARET FEELING STUPID FOR PEOPLE WHO THINK THEY DON’T LIKE THEATRE “We are at our most innovative and distinctive with work at the convergence point of the “The two parts of our name sum us areas we excel in.” up nicely.
    [Show full text]
  • A Guide to Frantic Assembly for Students
    A Guide to Frantic Assembly for students (aged 14+), teachers & arts educationalists By Frantic Assembly Contents 3 Introduction 3 Background to Frantic Assembly 3 The 'get in the back of the van!' years 6 The 'meet you in the bar' years 7 Artistic Process 9 Education 10 Managing a Company 11 Funding 13 Marketing Frantic Assembly 15 Company Structure 15 Frantic FAQ 18 Things you didn't ask, but might want to know 19 Production History 21 Where can I find out more about Frantic Assembly? Introduction This resource pack aims to give you access to some of the things you might want to know about our company. Writing it has brought back memories of broken down vans, bewildered audiences, getting very drunk and very proud at our first award, of smoke machines setting off fire alarms in a school in Truro and the whole audience having to stand with us, in costume, in a rainy car park, and probably the worst review ever written for a first night in the history of theatre (it was David Adams writing in the Western Mail about our show Flesh. Conveniently I can't find it on the web but no doubt it is out there!). It also brought back the excitement of realising that people were getting what we were trying to do and that it meant something to them, whether that was the energy of the shows, the intensity of the workshops, or the company's ethos of accessibility. We have been doing this for 15 years now and thought the timing was right to create this pack.
    [Show full text]
  • Othello Resource Pack
    Frantic Assembly and Theatre Royal Plymouth in collaboration with Royal & Derngate Northampton SHAKESPEARE’S O THELLO A Comprehensive Guide for students (aged 14+), teachers & arts educationalists. By Scott Graham, Steven Hoggett and Jamie Rocha Allan. WHY OTHELLO? 1 An Unhealthy Obsession 3 2 Two Worlds Collide - Othello and Dark Heart 4 HOW ARE WE GOING TO DO THIS? 1 Truthful Delivery - avoidance of RP, modern rhythms v rhythms of the text, hard boys in a hard world 5 2 The 7 Sins of England - inspiration and quality of delivery 7 3 The Adaptation 8 4 Why West Yorkshire? 10 5 The Violence - the avoidance of stage fighting 11 CHARACTERS - WHAT'S NOT BEEN SAID? 1 Othello 12 2 Iago 12 3 Desdemona 13 4 Cassio 13 5 Roderigo 14 6 Bianca 14 7 Brabantio/Lodovico 15 8 Emilia 15 9 Montano 16 THE REHEARSAL ROOM 1 The free exercise - day 2 playing in the space 17 2 Mock Baroque 18 3 Pool Boys 19 4 Extracts from the Assistant Director’s Diary 20 5 Physical training 22 THE IMAGE 23 THE HANDKERCHIEF 24 THE MUSIC - WHY HYBRID? 25 THE DESIGN 1 The Pool Table 26 2 The Walls - 'Strictly not for scene changes!' 27 SCENES 1 The Death scene 28 2 The Overture 29 3 Iago Vision 30 LAST MINUTE DISCOVERIES 31 ESSAY SUGGESTIONS 32 AREAS OF RESEARCH AND INSPIRATION 1 West Yorkshire Riots & Racial Segregation 33 2 Dark Heart 33 3 Banged Up 33 BIBLIOGRAPHY OF INSPIRATION 34 2 WHY OTHELLO? An Unhealthy Obsession Several years ago director Tom Morris took us out for lunch and told us that we should 'do Othello'.
    [Show full text]
  • Speed14 Programme Front and Back
    Intrepid plays by fearless women Kali produces ground-breaking plays by women writers from a South Asian background. We have won rave reviews, sold-out shows and inspired audiences all over the UK with work that challenges our perceptions through original and surprising theatre. “The most enjoyably inventive piece of theatre I've seen this year” The Guardian on Behna Join our mailing list www.kalitheatre.co.uk Email us [email protected] Like us www.facebook.com/KalitheatreUK Tweet us @kalitheatreUK Kali Theatre Company The Albany Deptford London SE8 4AG 020 8694 6033 [email protected] Registered Charity No 1071733 Please take a few minutes to tell us what you thought of this play on the feedback form, or email us [email protected]. Coming soon to Soho Theatre By Iman Qureshi Tristan Bates Theatre 25 February - 8 March 2014 Prema Mehta Lighting Designer Prema Mehta works as a lighting designer for drama and dance productions. Designs for drama productions include The Great Extension (Theatre Royal Stratford East), Snow Queen (Derby Theatre), Speed The Massacre (Theatre Royal, Bury St. Edmunds, The Electric Hills (Liverpool Everyman). Designs for dance include Jugni (UK tour,) Maaya (Westminster By Iman Qureshi Hall), Bells (Mayor of London’s Showtime) and Sufi Zen (Royal Festival Hall). Previous designs for Kali Theatre Company included Shared Memories and Calcutta Kosher (Arcola Theatre). Further details are available at Shalini Dina Mousawi www.premamehta.com Qal Tariq Jordan Dina Mousawi is passionate about movement and physicality in theatre and practises aerial performance as well as capoeira.
    [Show full text]
  • ‚Gutes' Theater
    VS PLUS Zusatzinformationen zu Medien des VS Verlags ‚Gutes’ Theater Theaterfinanzierung und Theaterangebot in Großbritannien und Deutschland im Vergleich 2011 | Erstauflage Anhang Tabellen [Text eingeben] www.viewegteubner.de www.vs -verlag.de Inhaltsverzeichnis Tab. 1: Internationale Definitionen von Kultur, Kultursektor, Kulturindustrien....................................4 Tab. 2: Kulturfinanzierung, GB, 1998/99, in ₤ Mio. und %...................................................................5 Tab. 3: Zentralstaatliche Kulturförderung in GB, 1998/99, in ₤ Mio. und %......................................... 5 Tab. 4: Anteil Kultursponsoring am BIP, D vs. GB, 1999-2007............................................................5 Tab. 5 Production categories , TMA (Beschreibung der Sparten für die Umfrage), ab 1993 ...............6 Tab. 6a: Production categories , SOLT .................................................................................................... 7 Tab. 6b: Sub genres und other production criteria , SOLT ......................................................................7 Tab. 7: Verteilung der deutschen Theater nach Träger, 1990-2005 .......................................................8 Tab. 8: Verteilung Rechtsträger und -formen der deutschen öffentlichen Theaterunternehmen............ 8 Tab. 9: Londoner Theater (SOLT-Mitgliedschaft).................................................................................9 Tab. 10: Wichtigste Londoner Theater, A-Z, Sitzplatzkapazitäten, Eigentümer/ Betreiber..................
    [Show full text]
  • Jimmy Akingbola
    www.hamiltonhodell.co.uk Jimmy Akingbola Talent Representation Telephone Madeleine Dewhirst & Sian Smyth +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Television Title Role Director Production Company THE TOWER DC Steve Bradshaw Jim Loach Mammoth Screen Limited KATE & KOJI Koji Ben Kellett Hat Trick/ITV TED LASSO Ollie Various Warner Bros/Apple TV+ MOST DANGEROUS GAME Carter Phil Abraham CBS CHEAT DI Hammond Louise Hooper ITV IN THE LONG RUN Valentine Declan Lowney Sky Saul Metzstein/Philippa LIVING THE DREAM Paul Big Talk/Sky 1 Langdale Liberian Ambassador NCIS Bethany Rooney CBS Gabriel Moore THE MACHINE (Pilot) Dr Lubin Caradog W. James Syfy FUNGUS THE BOGEYMAN Rev Jake Ruto Catherine Morshead Sky 1 DC Entertainment/Warner Bros. ARROW Series 4 Baron Reiter Various Television/The CW VERY BRITISH PROBLEMS Himself Lorrie Powles Alaska TV/Channel 4 BALLOT MONKEYS Baz Adebalu Guy Jenkin Hat Trick/Channel 4 ROALD DAHL'S ESIO TROT Keen Petshop Keeper Dearbhla Walsh BBC/Endor Productions SONS OF LIBERTY Peter Salem Kari Skogland History Channel BIG SCHOOL Series 2 Dr. Dalton Matt Lipsey BBC DEATH IN PARADISE Series 3 Terrance Richard Signy BBC REV Series 1, 2 & 3 Winner of Best Comedy Performance, Movie, Video & Screen Awards (MViSAs), 2014 Mick Peter Cattaneo Big Talk Productions Winner of Best Comedy Performance in TV, Movie, Video & Screen Awards (MViSAs), 2012 Winner of Best TV Actor, BEFFTA Awards, 2010 HOLBY CITY Winner of Favourite Male TV Star, Screen Nation
    [Show full text]
  • Frantic Assembly Celebrates It's First Ever Performance
    PRESS RELEASE – Monday 21 October 2019 Twitter/ Facebook / Instagram / website NEW IMAGES CAN BE DOWNLOADED HERE FRANTIC ASSEMBLY CELEBRATES IT’S FIRST EVER PERFORMANCE 25 YEARS AGO Look Back In Anger © Jonathan Littlejohn • LOOK BACK IN ANGER, FRANTIC’S FIRST EVER WORK WAS PERFORMED 25 YEARS AGO TODAY • A NEW FUNDRAISING CAMPAIGN, 25@25 IS LAUNCHED TO SUPPORT COMPANY ACTIVITY • MEMBERS OF FRANTIC’S NEW CREATIVE THINK-TANK, THE ASSEMBLY ANNOUNCED • BOOK CHARTING 25 YEARS OF FRANTIC TO BE PUBLISHED MID-NOVEMBER On 21 October 1994, Frantic Assembly performed their first ever work – a production of John Osborne’s Look Back in Anger performed by Scott Graham and Steven Hoggett at the Taliesin Arts Centre in Swansea. To mark the anniversary of their first performance, the company today announced a new fundraising initiative and revealed further details of projects forming a year of activity to celebrate 25 years of Frantic Assembly. Scott Graham, co-founder and Artistic Director of Frantic Assembly said: “We read Look Back In Anger and loved the fire in its belly and then unceremoniously adapted it. I think we ruffled some feathers, but I believe our instinct was right and we were in a way being true to that fire at the heart of it. We took risks. We had to. We needed to be different. However, it was still that recognisable angry young man railing against a world of quiet privilege. Steven and I performed in all of the early shows. We pretty much designed the lights, sound, set, did the get-ins, the get-outs and also drove the van.
    [Show full text]
  • Triforce Creative Network Launches Production Company with Red Planet Pictures
    TRIFORCE CREATIVE NETWORK LAUNCHES PRODUCTION COMPANY WITH RED PLANET PICTURES - Talent Development Organisation Also Launches Writers Initiative with BBC and ITV - TriForce Creative Network (TCN), the inclusive talent development organisation formerly known as TriForce Promotions, announces the launch of its new production company TriForce Productions. The new production company is uniquely placed to promote diversity and inclusivity in the TV industry by sourcing creative talent from the TCN’s increasing network of talent and the company’s well-established development initiatives. Supported by Red Planet Pictures, TriForce Productions will focus on creating quality, mainstream content, showcasing new voices and emerging talent to the broadest audience. Red Planet Pictures will provide creative expertise, industry knowledge and networking opportunities to TriForce Productions as the start-up looks to secure its first developments. TriForce Productions will focus on developing diverse content across a range of genres for UK and US broadcasters, and is already in talks with key channels about a number of projects. It is expected that Red Planet Pictures will be co-producer on selected projects. The TCN’s growing network and roster of successful initiatives have drawn the attention of producers and broadcasters alike, keen to access their pool of talent. Tony Jordan MD, Red Planet Pictures, says; “I have followed the TCN’s work over the years and have always seen them as a driven company, genuinely invested in the development of talent and in changing the face of our industry for the better. The issue with diversity in the industry is not a lack of talent, just a lack of avenues for that talent to be reached.
    [Show full text]
  • The Footprints Festival We Are Reopening with a Celebration of Theatre and the People Who Make It
    Live on stage. Enjoy from home or at our theatre. 17 May - 1 August 2021 Drama Solo Cabaret Classics Showcases Poetry FESTIVAL Welcome to the Footprints Festival We are reopening with a celebration of theatre and the people who make it. Over 40 productions feature in the Footprints Festival, encompassing drama, music, poetry, and comedy; shows to make us laugh, think, and perhaps shed a tear or two. If, like us, you can’t wait to be back in the unique atmosphere of our theatre, our doors are open! We will take every precaution to keep you safe from the moment you enter the building and come downstairs. Social distancing means our maximum audience size is 25 - so book early. But if you prefer to watch from home, we’ll be live-streaming every single event of the Footprints Festival so you can watch on your computer or television. The Footprints Festival has six strands: Drama, Solo, Cabaret, Classics, Poetry and Showcases. Three fabulous plays are at its heart: Two Horsemen, Lone Flyer and Mr and Mrs Nobody. With a Festival Pass, tickets are cheaper than ever before. The Footprints Festival features too many great actors, writers and directors to list here - but as always at Jermyn Street Theatre, household names share the bill with exciting newcomers. Come to see the people you’ve missed, and discover the stars of tomorrow. Whether you join us in our theatre, or from your home, we’re To book, visit jermynstreettheatre.co.uk overjoyed to welcome you back. Or call the Box Office 020 7287 2875 Tom Littler and Penny Horner Artistic and Executive Directors Live on stage.
    [Show full text]
  • Shakespeare's Othello
    The observable effects of constraints identified in the conditions attending the adaptation of Othello by Frantic Assembly, Macbeth by The Pantaloons and Twelfth Night by Filter Theatre. Submitted by Sarah Louise Elizabeth McCourt, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama, April 2015. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature) ……………………………………………………………………………… 1 Abstract The adaptation of Shakespeare’s plays in England continues to be complicated by his canonical status. This has led to the authority and value of productions of Shakespeare’s plays being assessed in terms of their fidelity or otherwise to the text, original performance conditions, and even Shakespeare’s intentions. The growing influence of performance studies offers a new way examine adaptations by focusing on adaptation as a creative process as well as a product. This opens up opportunities to examine how such ideological constructions of Shakespeare’s textual authority impact on the adaptation process. Whilst productions of Shakespeare’s plays by national, building-based companies such as the RSC and Shakespeare’s Globe have received considerable analysis, those created by small, touring companies are less frequently considered. These small, non building-based companies have developed distinctive interdisciplinary artistic practices informed by creating and adapting a wide range of work for touring.
    [Show full text]