Drama and Theatre
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Masterarbeit / Master's Thesis
MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master’s Thesis “Paranoia in Tony Kushner’s Angels in America and Arthur Miller’s The Crucible” verfasst von / submitted by Dott. Marta Palandri angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien 2018 / Vienna 2018 Studienkennzahl lt. Studienblatt / A 066 844 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Anglophone Literatures and Cultures degree programme as it appears on the student record sheet: Betreut von / Supervisor: Univ.-Prof. Mag. Dr. Alexandra GANSER Table of Contents Introduction 3 Methodology 5 The Plays: Angels in America and The Crucible 6 Arthur Miller’s The Crucible in Context 6 Tony Kushner’s Angels in America in Context 9 Theory 11 New Historicism 11 The Fear of the Other 12 Binary Oppositions 13 Analysis and Theory Application 14 How Does Paranoia Affect Culture? 14 Paranoia and Identity 14 Paranoia and Fear 15 Paranoia in Postwar America 16 Mass Hysteria, Witch Hunts, and Scapegoating in The Crucible 18 A Dual Historical Context 18 Scapegoating 25 Monsters 30 The Role of Guilt 32 The Myth of Witchcraft 34 Conclusion 35 Psychosis, Symbolism, and Apocalypse in Angels in America 36 Historical Context through the Eyes of the Other 36 The Approach of the Millennium 37 Apocalyptic Narratives 41 Binary Oppositions 42 Symbolism and Apocalyptic Visions 44 Psychosis 46 Apocalyptic Otherness 47 Change and Stasis -
The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986) -
Undergraduate Play Reading List
UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M. -
Jehane Markham Born 1949 Central School of Art, Fine Art 1969-1971 University of North London, Dip HE Irish Studies & Film S
Jehane Markham Born 1949 Central School of Art, Fine Art 1969-1971 University of North London, Dip HE Irish Studies & Film Studies 2002 Poetry performances 2020 Guest Poet on Maritime Radio Arts programme from January to April 5 poems on Write Where We Are Now online site at The Writing School Manchester University Above and Below the Water Line audio poem as part of the Electric Medway online festival. 2 Poems in The Camden New Journal 2019 Highgate Library – Jehane Markham, Linda Black and Martina Evans 2018 The Star Pub, Dartmouth Park Karamel Café for Collage Arts Master Class: Is Paradise Lost? The Writing Room, Collage Arts 2017 Readings at Karamel Café for Collage Arts Pentameters Theatre, Hampstead, Jehane Markham, Martina Evans and Donald Gardner Torriano Meeting House, Jehane Markham and Cheryl Moskowitz 2016 Poet in Residence at The Camden New Journal from 2016-2020 Osborne and After – Words and Plays Festival Clun, Shropshire Talk at the BF! Nina + Alan Clarke’s Women April 2016, Jehane Markham, Eleanor Bron, Lesley Manville and Lesley Sharp discuss Alan Clarke’s handling of feminine and feminist subjects chaired by Lizzie Francke Launch of Sixteen Sunsets Map Café, London The Pump House, Suffolk Burgh House, Hampstead York Rise Street Festival 2015 The Star, London Denville Hall, London The Room, Tottenham, London Torriano Meeting House, London 2014 Highgate Branch Library, London 2013 COAST – Passionate about Peace Highgate Branch Library, London No Glory, St James Church, Piccadilly, London Karamel Club, London Torriano -
Creative Spaces in Westminster
Creative Spaces in Westminster Map Facilities Company/organisation name Address Postcode Telephone For more information Key: C = cultural and community event; E = exhibitions; F = film / photography / cinema; L = launch, fashion show, reception; M = meeting / class / workshop; P = performance; R = audition / rehearsal Large Mixed Use Spaces 1 C, M Abbey Community Centre 34 Great Smith Street SW1P 3BU 020 7222 0303 www.theabbeycentre.org.uk/venue/ 2 M, P, R Amadeus Centre 50 Shirland Road W9 2JA 020 7286 1686 www.amadeuscentre.co.uk Corporate GIS Team 3 C, E, M, R Beethoven Centre Third Avenue Queens Park W10 4LJ 020 8825 1067 www.a2dominion.co.uk/rte.asp?id=984 4 Natural History Museum contact the Arts and Culture Service - 020 7641 2498 SW7 5BD www.nhm.ac.uk/ 5 C, E, M, P, R Paddington Arts 32 Woodfield Road W9 2BE 020 7286 2722 www.paddingtonarts.org.uk/roomhire.php 6 M, P, R Royal Academy of Music Marylebone Road NW1 5HT 020 7873 7373 www.ram.ac.uk/venue-hire 21 7 E, L, M Royal College of Art Kensington Gore SW7 2EU 020 7590 4118 www.rca.ac.uk/Default.aspx?ContentID=159651&groupID=159651 8 Royal Geographical Society contact the Arts and Culture Service - 020 7641 2498 SW7 2AR www.rgs.org/HomePage.htm 9 M, R Rudolf Steiner House 35 Park Road NW1 6XT 020 7723 4400 www.rsh.anth.org.uk/pages/house_fac.html 15 10 Science Museum contact the Arts and Culture Service - 020 7641 2498 SW7 2DD www.sciencemuseum.org.uk/ 11 E, L, M, P, R Tabernacle 34-35 Powis Square W11 2AY 020 7221 9700 www.tabernaclew11.com/rooms-for-hire/ 12 Victoria & Albert -
Spectral Evidence’ in Longfellow, Miller and Trump
Clemson University TigerPrints All Theses Theses May 2021 Weaponizing Faith: ‘Spectral Evidence’ in Longfellow, Miller and Trump Paul Hyde Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Hyde, Paul, "Weaponizing Faith: ‘Spectral Evidence’ in Longfellow, Miller and Trump" (2021). All Theses. 3560. https://tigerprints.clemson.edu/all_theses/3560 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. WEAPONIZING FAITH: “SPECTRAL EVIDENCE” IN LONGFELLOW, MILLER AND TRUMP A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Paul Hyde May 2021 Accepted by: Dr. Michael LeMahieu, Committee Chair Dr. Cameron Bushnell Dr. Jonathan Beecher Field ABSTRACT This thesis explores a particular type of irrational pattern-seeking — specifically, “spectral evidence” — in Henry Wadsworth Longfellow’s Giles Corey of the Salem Farms (1872) and Arthur Miller’s The Crucible (1953). It concludes with observations of this concept’s continued and concerning presence by other names in Trump-era politics. The two works by Longfellow and Miller make a natural pairing because both are plays inspired by the Salem witchcraft trials (1692-93), a notorious historical miscarriage of justice. Robert Warshow calls the Salem witchcraft trials, aside from slavery, “the most disconcerting single episode in our history: the occurrence of the unthinkable on American soil, and in what our schools have rather successfully taught us to think of as the very ‘cradle of Americanism” (211). -
The Seagull Anton Chekhov Adapted by Simon Stephens
THE SEAGULL ANTON CHEKHOV ADAPTED BY SIMON STEPHENS major sponsor & community access partner WELCOME TO THE SEAGULL The artists and staff of Soulpepper and the Young Centre for the Performing Arts acknowledge the original caretakers and storytellers of this land – the Haudenosaunee Confederacy, and Wendat First Nation, and The Mississaugas of the Credit First Nation who are part of the Anishinaabe Nation. We commit to honouring and celebrating their past, present and future. “All around the world and throughout history, humans have acted out the stories that are significant to them, the stories that are central to their sense of who they are, the stories that have defined their communities, and shaped their societies. When we talk about classical theatre we want to explore what that means from the many perspectives of this city. This is a celebration of our global canon.” – Weyni Mengesha, Soulpepper’s Artistic Director photo by Emma Mcintyre Partners & Supporters James O’Sullivan & Lucie Valée Karrin Powys-Lybbe & Chris von Boetticher Sylvia Soyka Kathleen & Bill Troost 2 CAST & CREATIVE TEAM Cast Ghazal Azarbad Stuart Hughes Gregory Prest Marcia Hugo Boris Oliver Dennis Alex McCooeye Paolo Santalucia Peter Sorin Simeon Konstantin Raquel Duffy Kristen Thomson Sugith Varughese Pauline Irina Leo Hailey Gillis Dan Mousseau Nina Jacob Creative Team Daniel Brooks Matt Rideout Maricris Rivera Director Lead Audio Engineer Producing Assistant Anton Chekhov Weyni Mengesha Megan Woods Playwright Artistic Director Associate Production Manager Thomas Ryder Payne Emma Stenning Corey MacVicar Sound Designer Executive Director Associate Technical Director Frank Cox-O’Connell Tania Senewiratne Nik Murillo Associate Director Executive Producer Marketer Gregory Sinclair Mimi Warshaw Audio Producer Producer Thank You To Michelle Monteith, Daren A. -
Submission Draft Hampstead Neighbourhood Plan 2018-2033
SUBMISSION DRAFT HAMPSTEAD NEIGHBOURHOOD PLAN 2018-2033 Published in October 2017 by: Hampstead Neighbourhood Forum under the Neighbourhood Planning (General) Regulations 2012 0 1 Foreword This document represents the culmination of more than three years of work by many volunteers and is based on the input of hundreds of local people. Our aim with this Neighbourhood Plan is to promote Hampstead’s future as a lively and contemporary neighbourhood with exceptional heritage and unique open spaces. Over the course of 2014, the Forum consulted extensively with residents, businesses and other stakeholders in Hampstead. We appeared at festivals, met with groups and individuals, got out the word through our website and the local media and managed to increase our membership from about 150 to more than 1000. Several hundred people attended our three consultation events. We listened to your feedback and worked hard to incorporate your views into a “Vision” document. The excellent response helped us establish a clear set of aims and objectives for how the local community would like to shape future development. During 2015 and 2016, we sought to put some policy flesh on these visionary bones, or rather, some teeth. We also spent many months gathering the evidence to back up these policies. We presented our draft Neighourhood Plan for consultation in the spring of 2017 and received overwhelming support for the policies it contained. We are grateful for the support we have received from Locality and would like to thank everyone who has helped produce this document, to the Forum Committee, to all of our local Councillors, to our consultants at Fortismere Associates, to Deborah McCann for conducting our Health Check and to Andrew Triggs and Brian O’Donnell at Camden Council for their guidance and support. -
The Crucible Giles Corey
THE CRUCIBLE GILES COREY He is in his early 80s at the time of the trials. He represents the many innocent victims of the witch-trials in Salem His conscience would not let him answer to, of confess to something which he was not guilty of and he paid for this with his life. He is an example of moral integrity and an inspiration for John Proctor when he urges his torturers to place more weights on him. He showed great bravery up to his death. Personality – wise he is an argumentative but fundamentally honest farmer, who seems to have made a hobby out of taking people to court over land issues. He was always under the suspicious eye of the community for something – if ever a fire started or something went missing the first port of call was always Corey. The worst he could be accused of was being a nuisance and a ‘crank’ – but certainly not witchcraft. He didn’t care what other people thought of him and had only come to the church late in life when he had married Martha. He has quarrelled with Thomas Putnam over a piece of land. His mention of his wife’s fondness for reading puts her under suspicion. He knows that if he answers the court’s charge of witchcraft his sons will lose their right to inherit his land so he refuses to answer to the court. If he had denied the charge and been hanged they would have forfeit the right to inherit. He is pressed to death under large stones. -
Download Publication
CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts. -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
PRESS RELEASE 23 July 2019
PRESS RELEASE 23 July 2019 Theatres Trust awards over £50,000 to eleven theatres across London as grant scheme changes allow more small theatres to apply Eleven more small London theatres receive up to £5,000 each from the Theatres Trust London Small Theatres Grants Scheme for projects that improve operation, access and environment for all theatre users. Five theatres were able to apply for the first time thanks to changes made to the tenure and charitable structure criteria to widen eligibility: Coronet Theatre, King’s Head Theatre, Matchstick Piehouse, Pentameters and 2Northdown. Hampstead’s pub theatre, Pentameters, will undertake urgent electrical works which will protect this well-loved local theatre – this grant is the first the venue has ever received. The Coronet Theatre will be able to provide induction loop facilities for the hearing impaired as it upgrades its sound system; and the King’s Head Theatre, will be able to fund an accessible lift in its brand new basement theatre home. Matchstick Piehouse, a new 60-seat railway arch theatre, will improve the flexibility of its auditorium with extra sound proofing and rigging positions. A benefit to all users, this work will also reduce the risk of noise complaints from neighbours. Also newly eligible 2Northdown, a small comedy venue in King’s Cross, the testing ground for comedians expanding from stand-up, will install a permanent stage allowing artists the facilities to present this art form more theatrically. Six other theatres receive Theatres Trust funding to ensure better facilities for audience and artist. The Bernie Grant Arts Centre, in Tottenham, will ensure the safety of its visitors by installing improved security systems, and those attending the Pleasance Theatre Islington and Studio 3 Arts will benefit from upgraded heating and cooling systems.