A Pocket Guide to Ibsen, Chekhov and Strindberg PDF Book
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
Their Mutuall Embracements": Discourses on Male-Female Connection in Early Modern England
"Their Mutuall Embracements": Discourses on Male-Female Connection in Early Modern England Author: Lindsay Williams Persistent link: http://hdl.handle.net/2345/543 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2008 Copyright is held by the author, with all rights reserved, unless otherwise noted. “Their Mutuall Embracements”: Discourses on Male-Female Connection in Early Modern England Lindsay Williams Advisor: Professor Caroline Bicks English Department Honors Thesis Submitted: April 14, 2008 Acknowledgments I offer my heartfelt thanks to the following people, without whom this thesis would not be in its present, polished form: To my advisor, Professor Caroline Bicks, for the countless hours she dedicated to this project. Her guidance, patience, encouragement, and thoughtful revisions and suggestions were invaluable to the finished product and immensely appreciated by its author. To Christine Stearns, my mentor and friend, for adding the final spark to my passion for English literature and Shakespeare in my senior year of high school. Her love for the subject motivated my choice of an English major at Boston College and was an ongoing inspiration as I undertook the greatest challenge of that major in this thesis. To my parents, Laura and Michael Williams; close friends Anna Talbot, Elise Springer, and Siena Koncsol; and college roommates Lara Kinne, Kristy Bykowski, and Kristen Couture for always seeming to know the exact moments in which I needed an extra -
The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A. -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60). -
2016 Study Guide
2016 STUDY ProductionGUIDE Sponsor 2016 STUDY GUIDE EDUCATION PROGRAM PARTNER BREATH OF KINGS: REBELLION | REDEMPTION BY WILLIAM SHAKESPEARE CONCEIVED AND ADAPTED BY GRAHAM ABBEY WORLD PREMIÈRE COMMISSIONED BY THE STRATFORD FESTIVAL DIRECTORS MITCHELL CUSHMAN AND WEYNI MENGESHA TOOLS FOR TEACHERS sponsored by PRODUCTION SUPPORT is generously provided by The Brian Linehan Charitable Foundation and by Martie & Bob Sachs INDIVIDUAL THEATRE SPONSORS Support for the 2016 Support for the 2016 Support for the 2016 Support for the 2016 season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously provided by provided by the generously provided by provided by Claire & Daniel Birmingham family Richard Rooney & Sandra & Jim Pitblado Bernstein Laura Dinner CORPORATE THEATRE PARTNER Sponsor for the 2016 season of the Tom Patterson Theatre Cover: From left: Graham Abbey, Tom Rooney, Araya Mengesha, Geraint Wyn Davies.. Photography by Don Dixon. Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Plot Synopsis .............................................................................................................. -
PROGRAM PSHITTER! a DRINKING SONG for the YEAR of OUR LORD 2020 ILLINOIS THEATRE by Henry Wishcamper Lisa Gaye Dixon, Director Thursday-Saturday, December 3-12
PSHITTER! A DRINKING SONG FOR THE YEAR OF OUR LORD 2020 ILLINOIS THEATRE By Henry Wishcamper Lisa Gaye Dixon, director Thursday-Saturday, December 3-12 WELCOME TO THIS (MOSTLY VIRTUAL) We have done some industry-leading work to SEASON OF ILLINOIS THEATRE! put the shows you’re seeing this year on stage and on screen—and to do it safely. We are very This has been a very fortunate to be a theatre production team in a strange—truly era- research university, because it gives us the chance defining—time to be to find solutions to problems that theatres around making theatre. The global the world are facing. We have developed a set of pandemic has come home protocols that draw on the work of major industry in particularly significant organizations and on the campus and state ways for everyone involved epidemiological and public health expertise. It is in live performance. How remarkable what we can do when the full range of do you produce art when expertise in theatre—stage managers, designers, much of the basis of that technicians, actors, directors, and dramaturgs—are art becomes a danger to in it together. In the end, those protocols not only the very communities for and with whom you offer us the chance to make this work, but also give make that art? When singing, playing instruments, direction to our peers across academic theatre. declaiming, and even breathing heavily carries the risk of transmitting a respiratory virus? When Human stories, the stories smiles, frowns, grimaces, and looks of surprise are Illinois Theatre tells, are a covered by masks? When the numbers of people beacon of hope in dark and needed not only on stage but also backstage and unsettled times. -
SHAKESPEARE in PERFORMANCE Some Screen Productions
SHAKESPEARE IN PERFORMANCE some screen productions PLAY date production DIRECTOR CAST company As You 2006 BBC Films / Kenneth Branagh Rosalind: Bryce Dallas Howard Like It HBO Films Celia: Romola Gerai Orlando: David Oyelewo Jaques: Kevin Kline Hamlet 1948 Two Cities Laurence Olivier Hamlet: Laurence Olivier 1980 BBC TVI Rodney Bennett Hamlet: Derek Jacobi Time-Life 1991 Warner Franco ~effirelli Hamlet: Mel Gibson 1997 Renaissance Kenneth Branagh Hamlet: Kenneth Branagh 2000 Miramax Michael Almereyda Hamlet: Ethan Hawke 1965 Alpine Films, Orson Welles Falstaff: Orson Welles Intemacional Henry IV: John Gielgud Chimes at Films Hal: Keith Baxter Midni~ht Doll Tearsheet: Jeanne Moreau Henry V 1944 Two Cities Laurence Olivier Henry: Laurence Olivier Chorus: Leslie Banks 1989 Renaissance Kenneth Branagh Henry: Kenneth Branagh Films Chorus: Derek Jacobi Julius 1953 MGM Joseph L Caesar: Louis Calhern Caesar Manluewicz Brutus: James Mason Antony: Marlon Brando ~assiis:John Gielgud 1978 BBC TV I Herbert Wise Caesar: Charles Gray Time-Life Brutus: kchard ~asco Antony: Keith Michell Cassius: David Collings King Lear 1971 Filmways I Peter Brook Lear: Paul Scofield AtheneILatenla Love's 2000 Miramax Kenneth Branagh Berowne: Kenneth Branagh Labour's and others Lost Macbeth 1948 Republic Orson Welles Macbeth: Orson Welles Lady Macbeth: Jeanette Nolan 1971 Playboy / Roman Polanslu Macbe th: Jon Finch Columbia Lady Macbeth: Francesca Annis 1998 Granada TV 1 Michael Bogdanov Macbeth: Sean Pertwee Channel 4 TV Lady Macbeth: Greta Scacchi 2000 RSC/ Gregory -
Linguaculture 1, 2014
LINGUACULTURE 1, 2014 THE HOLLOW CROWN:SHAKESPEARE, THE BBC, AND THE 2012 LONDON OLYMPICS RUTH M ORSE Université-Paris-Diderot Abstract During the summer of 2012, and to coincide with the Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. The BBC commission was conceived as part of the Cultural Olympiad which accompanied Britain’s successful hosting of the Games that summer. I discuss the financial, technical, aesthetic, and political choices made by the production team, not only in the context of the Coalition government (and its attacks on the BBC) but also in the light of theatrical and film tradition. I argue that the inclusion or exclusion of two key scenes suggest something more complex and balanced that the usual nationalism of the plays'; rather, the four nations are contextualised to comprehend and acknowledge the regions – apropos not only in the Olympic year, but in 2014's referendum on the Union of the crowns of England/Wales and Scotland. Keywords: Shakespeare, BBC, adaptation, politics, Britishness During the summer of 2012, to coincide with the London summer Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. An additional series, Shakespeare Unlocked, accompanied each play with a program fronted by a lead actor discussing the play and the process, illustrated by clips from the plays in which they had appeared (“The Hollow Crown”). The producer was the Neal Street Production Company in the person of Sam Mendes, a well-known stage and cinema director, celebrated not least for an Oscar for American Beauty, a rare honour for a first-time film director. -
Job Description
Job Description Job title: Assistant Producer Reporting to: Managing Director, Theatre Royal Bath Productions Principal duties: To work with the Managing Director to develop and manage theatre production projects. In particular: 1. To research potential theatre production projects. 2. To liaise with agents about the availability/likely interest of their clients in theatre production projects. 3. To work with the General Manager on all physical aspects of theatre production. 4. To work alongside and manage freelance production staff i.e. company manager and casting directors. 5. To liaise with other producers and theatre managements. 6. To create co-production agreements with other theatre managements. 7. To negotiate deals with agents for the services of actors, understudies, directors, lighting designers, sound designers and other members of creative teams. 8. To draft contracts for the services of the above. 9. To negotiate rights agreements with literary agents. 10. To create and monitor budgets for theatrical productions. 11. To attend first days of rehearsals, run-throughs, previews and press nights and liaise as necessary with directors. 12. To create and maintain the creative team fee/royalties database. 13. To liaise with marketing and press consultants. 14. To process venue contracts. Assistant Producer - Person Specification Skills Essential . Computer literate - Microsoft Word & Excel packages . Accurate typing . Good telephone manner . Excellent communicator – written & oral Experience Essential Experience of working in an organisation with a team environment Desirable . Experience of working in an arts organisation Personal Qualities Essential . Organisational flair with the ability to prioritise workloads . Calm, patient and prepared to work for others . Ability to work swiftly and under pressure . -
Dame Judi Dench at 10Th Anniversary Edition
ASFF is thrilled to announce that British actress Dame Judi Dench will be joining the festival’s renowned masterclass strand to discuss her esteemed career on stage and screen. In a year that will see some stellar talents from both behind and in front the camera speak, Dame Judi’s must- see masterclass (8 November, 16:00) is a fitting way to bring this truly special 10th anniversary edition of the ASFF to a close. With a body-of-work that stretches back to 1957, when she left drama college to play Ophelia in a production of Hamlet at the Old Vic, Dame Judi’s wealth of experience has seen her work with some of the world’s most acclaimed directors. Among her many collaborators stand Clint Eastwood (J. Edgar), Tim Burton (Mrs. Peregrine’s Home for Peculiar Children) and Joe Wright (Pride & Prejudice). On stage, Dame Judi has won a Tony on Broadway in 1999 for her role in Amy’s View and a record eight Olivier awards, most recently for A Winter’s Tale. In the cinema, she has been equally feted, receiving seven Oscar nominations, beginning with her role as Queen Victoria in Mrs. Brown. In 1999, her turn as an imperious Queen Elizabeth I in Shakespeare In Love saw her win the Academy Award for Best Supporting Actress. After coming to the British public’s attention in the 1980s in the television sitcom A Fine Romance, co-starring with her late husband Michael Williams, Dame Judi gradually moved into film, notably in the Merchant-Ivory production of A Room With A View (1985). -
Summer 2015 PSF Newsletter
The Pennsylvania Shakespeare Festival Newsletter • Summer 2015 SHAKESPEARE In the prior season of 1598, Shakespeare had penned & HIS BAND OF BROTHERS Romeo & Juliet (think of the By Heather Helinsky, Dramaturg film Shakespeare in Love) as well as a very popular and controversial An extraordinary year for Shakespeare as an two-part blockbuster Henry the Elizabethan dramatist. As he explores the Fourth. The Epilogue of The Second 1599: Part of Henry the Fourth is interest- dimensions of King Henry V’s legendary status as England’s greatest warrior in his play of the same title, he’s ing because there are two competing also emerging as one of England’s preeminent playwrights and endings that advertised two very dif- ferent plays to come. One epilogue we professional theatre practitioners. know was delivered by the comic actor Shakespeare and his fellow dramatists were writ- Will Kemp, who declared “our humble ing for an audience of all classes who thrived on new author will continue the story, with Sir John plays. London at that time had a population of roughly [Falstaff ] in it, and make you merry with fair 200,000 and on average, based on ticket sales, one- Katherine of France.” third of London’s adult population saw a play every Sir John Falstaff is the well-known drunken month. Unlike our contemporary understanding mentor to the young Prince Hal, who would of playwriting as a creation by a single author, become king in Shakespeare’s next promised play, most Renaissance plays were co-authored. Henry V. But in the second epilogue, there were no But we believe Shakespeare authored such promises of a merry play with Sir John Falstaff. -
Program from the Production
SHAKESPEARE THEATRE COMPANY Dear Friend, Table of Contents Welcome to STC’s Hero/ STC Board of Trustees Traitor Repertory, the first Coriolanus Title Page 5 installment in the Clarice Board of Trustees W. Mike House Emeritus Trustees Smith Repertory Series. Michael R. Klein, Chair Jerry J. Jasinowski R. Robert Linowes*, About the Playwright: Shakespeare 6 Robert E. Falb, Vice Chair Norman D. Jemal Founding Chairman William Shakespeare’s John Hill, Treasurer Jeffrey M. Kaplan James B. Adler Synopsis: Coriolanus 7 Coriolanus and Friedrich Pauline Schneider, Secretary Scott Kaufmann Heidi L. Berry* Michael Kahn, Artistic Director Abbe D. Lowell David A. Brody* Coriolanus Cast 9 Schiller’s Wallenstein Eleanor Merrill Melvin S. Cohen* share a stage because the title characters The Body Politic Trustees Melissa A. Moss Ralph P. Davidson share a dilemma: their power as charismatic Nicholas W. Allard Robert S. Osborne James F. Fitzpatrick by Drew Lichtenberg 10 Ashley M. Allen Stephen M. Ryan Dr. Sidney Harman* military leaders brings them into conflict with Stephen E. Allis George P. Stamas Lady Manning Wallenstein Title Page 11 the political world. In this North American Anita M. Antenucci Bill Walton Kathleen Matthews Jeffrey D. Bauman Lady Westmacott William F. McSweeny About the Playwright: Schiller 14 premiere of Schiller’s work, translated and Afsaneh Beschloss Rob Wilder V. Sue Molina freely adapted by former Poet Laureate Robert Landon Butler Suzanne S. Youngkin Walter Pincus Synopsis: Wallenstein 15 Pinsky, Wallenstein muses, “Once men have Dr. Paul Carter Eden Rafshoon Chelsea Clinton Ex-Officio Emily Malino Scheuer* Wallenstein Cast 17 climbed the heights of greatness…the world Dr.