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The Black Watch Museum and Home Headquarters
No. 102 November 2010 THE RED HACKLE Perth and Kinross is proud to be home to the Black Watch Museum and Home Headquarters Delivering Quality to the Heart of Scotland don’t lOSE YOUR VOICE - REGISTER TO VOTE In order to vote you must be registered as an elector. If you are not on the register your views and opinions will count for nothing at election time. You can and should register to vote if you are not already registered. If you have changed your name, please let us know. Members of HM Forces and their spouses or civil partners can register either by means of a service declaration or choose to be registered as an ordinary elector instead. Remember, 16 and 17 year olds who register are entitled to vote as soon as they turn 18. P.S. Did you know that registering to vote can do more than protect your democratic rights? It can also help you open a bank account or get a mortgage, loan or mobile phone. For information on registering to vote: Phone the Freefone Helpline on 0800 393783 e-mail: [email protected] or write to the Electoral Registration Officer, Moray House, 16-18 Bank Street, Inverness IV1 1QY HAVE YOUR SAY No. 102 42nd 73rd November 2010 THE RED HACKLE The Chronicle of The Black Watch (Royal Highland Regiment), its successor The Black Watch, 3rd Battalion The Royal Regiment of Scotland, The Affiliated Regiments and The Black Watch Association Private Sam Morgan receives his Afghanistan campaign medal during the visit or the Royal Colonel to Balhousie Castle on 1 June 2010. -
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 -
Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business. -
English 252: Theatre in England 2006-2007 * [Optional Events
English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E. -
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. -
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. -
Royal Shakespeare Company Returns to London's Roundhouse.Pdf
Royal Shakespeare Company returns to London’s Roundhouse from November 2010 with 10 week season • One company of 44 actors playing 228 roles • Six full-scale Shakespeare productions • Two Young People’s Shakespeares – innovative, distilled productions adapted for young people • Education projects across London and at the Roundhouse • One specially constructed 750-seat thrust stage auditorium – bringing audiences closer to the action – in one iconic venue Following its hugely successful, Olivier award-winning Histories Season in 2008, the RSC returns to London’s Roundhouse in November 2010 to present a ten-week repertoire of eight plays by Shakespeare – six full-scale productions and two specially adapted for children and families. This is the first chance London audiences will have to see the RSC’s current 44-strong ensemble, who have been working together in Stratford-upon-Avon since January 2009. The RSC Ensemble is generously supported by The Gatsby Charitable Foundation and The Kovner Foundation. The season opens with Rupert Goold’s production of Romeo and Juliet and runs in repertoire to 5 February next year, with Michael Boyd’s production of Antony and Cleopatra; The Winter’s Tale directed by David Farr; Julius Caesar directed by Lucy Bailey; As You Like It, directed by Michael Boyd; and David Farr’s King Lear (see end of release for production details at a glance). All six productions have been developed throughout their time in the repertoire and are revised and re-rehearsed with each revival in Stratford, Newcastle, London and finally for next year’s residency in New York. The season also includes the RSC’s two recent Young People’s Shakespeare (YPS) productions created especially for children and families, and inspired by the Stand Up For Shakespeare campaign which calls for more children and young people to See Shakespeare Live, Start Shakespeare Earlier and Do Shakespeare on their Feet – Hamlet, directed by Tarell Alvin McCraney, and The Comedy of Errors (in association with Told by an Idiot), directed by Paul Hunter. -
Performing Corpo-Realities in Shakespeare's Late Romances 2017
Action Bodies / Acting Bodies: Performing Corpo-Realities in Shakespeare's Late Romances Von der Philosophischen Fakultät der Gottfried Wilhelm Leibniz Universität Hannover zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) genehmigte Dissertation von Eve-Marie Oesterlen geboren am 24. April 1974 in München 2017 Referentin: Prof. Dr. Liselotte Glage Korreferent: Prof. Dr. Rainer Emig Tag der Promotion: 24. November 2016 Zusammenfassung Ausgangspunkt dieser Arbeit ist die Annahme, dass das Spätwerk Shakespeares sich durchgängig und intensiv damit auseinandersetzt, „was es heißt zu wissen, dass andere, dass wir Körper haben“ (Stanley Cavell). Untersucht wird die Bedeutung, die ein solcher corporeal turn für die Rezeption von drei der von der Shakespeare-Forschung bisher eher vernachlässigten Romanzen hat: Pericles, The Winter’s Tale und Cymbeline. Das Augenmerk der Analyse richtet sich hierbei insbesondere auf die Art und Weise, in der sich Repräsentationen des handelnden Körpers im doppelten Sinne (action body/acting body) zur dichten textuellen und theatralischen Selbstreflexion der Stücke verhalten. Hierbei rekurriert die Analyse auf kritische Ansätze, die sich aus der neueren kulturwissenschaftlichen Diskurswende in Bezug auf Körper und Performanz ergeben. Shakespeare, Körper, Performanz Abstract Proceeding from the premise that in his late plays Shakespeare continuously engages with the question of “what it is to know that others, that we, have bodies” (Stanley Cavell), this thesis examines the significance of such a ‘corporeal turn’ for the dramatic analysis of three of Shakespeare’s late romances: Pericles, The Winter's Tale, and Cymbeline. Following in the wake of critical approaches that have emerged from a new focus of interest in the body and performance, this thesis supplements a reading of the playtext with a reading of the text in performance to illustrate how representations of the performing body are bound up with and shaped by the plays’ intense textual and theatrical self-reflection. -
0844 800 1110
www.rsc.org.uk 0844 800 1110 The RSC Ensemble is generously supported by THE GATSBY CHARITABLE FOUNDATION TICKETS and THE KOVNER FOUNDATION from Charles Aitken Joseph Arkley Adam Burton David Carr Brian Doherty Darrell D’Silva This is where the company’s work really begins to cook. By the time we return to Stratford in 2010 these actors will have been working together for over a year, and equipped to bring you a rich repertoire of eight Shakespeare productions as well as our new dramatisation of Morte D’Arthur, directed by Gregory Doran. As last year’s work grows and deepens with the investment of time, so new productions arrive from our exciting new Noma Dumezweni Dyfan Dwyfor Associate Directors David Farr and Rupert Goold, who open the Phillip Edgerley Christine Entwisle season with King Lear and Romeo and Juliet. Later, our new Artistic Associate Kathryn Hunter plays her first Shakespearean title role with the RSC in my production of Antony and Cleopatra, and we follow the success of our Young People’s The Comedy of Errors with a Hamlet conceived and directed by our award winning playwright in residence, Tarell Alvin McCraney. I hope that you will come and see our work as we continue to explore just how potent a long term community of wonderfully talented artists can be. Michael Boyd Artistic Director Geoffrey Freshwater James Gale Mariah Gale Gruffudd Glyn Paul Hamilton Greg Hicks James Howard Kathryn Hunter Kelly Hunter Ansu Kabia Tunji Kasim Richard Katz Debbie Korley John Mackay Forbes Masson Sandy Neilson Jonjo O’Neill Dharmesh Patel Peter Peverley Patrick Romer David Rubin Sophie Russell Oliver Ryan Simone Saunders Peter Shorey Clarence Smith Katy Stephens James Traherne Sam Troughton James Tucker Larrington Walker Kirsty Woodward Hannah Young Samantha Young TOPPLED BY PRIDE AND STRIPPED OF ALL STATUS, King Lear heads into the wilderness with a fool and a madman for company. -
I Can't Recall As Exciting a Revival Sincezeffirelli Stunned Us with His
Royal Shakespeare Company The Courtyard Theatre Southern Lane Stratford-upon-Avon Warwickshire CV37 6BB Tel: +44 1789 296655 Fax: +44 1789 294810 www.rsc.org.uk ★★★★★ Zeffirelli stunned us with his verismo in1960 uswithhisverismo stunned Zeffirelli since arevival asexciting recall I can’t The Guardian on Romeo andJuliet 2009/2010 134th report Chairman’s report 3 of the Board Artistic Director’s report 4 To be submitted to the Annual Executive Director’s report 7 General Meeting of the Governors convened for Friday 10 September 2010. To the Governors of the Voices 8 – 27 Royal Shakespeare Company, Stratford-upon-Avon, notice is hereby given that the Annual Review of the decade 28 – 31 General Meeting of the Governors will be held in The Courtyard Transforming our Theatres 32 – 35 Theatre, Stratford-upon-Avon on Friday 10 September 2010 commencing at 4.00pm, to Finance Director’s report 36 – 41 consider the report of the Board and the Statement of Financial Activities and the Balance Sheet Summary accounts 42 – 43 of the Corporation at 31 March 2010, to elect the Board for the Supporting our work 44 – 45 ensuing year, and to transact such business as may be transacted at the Annual General Meetings of Year in performance 46 – 49 the Royal Shakespeare Company. By order of the Board Acting companies 50 – 51 The Company 52 – 53 Vikki Heywood Secretary to the Governors Corporate Governance 54 Associate Artists/Advisors 55 Constitution 57 Front cover: Sam Troughton and Mariah Gale in Romeo and Juliet Making prop chairs at our workshops in Stratford-upon-Avon Photo: Ellie Kurttz Great work • Extending reach • Strong business performance • Long term investment in our home • Inspiring our audiences • first Shakespearean rank Shakespearean first Hicks tobeanactorinthe Greg Proves Chairman’s Report A belief in the power of collaboration has always been at the heart of the Royal Shakespeare Company. -
Drama and Theatre
Drama and Theatre You need to do three things to be a top quality dramatist – watch theatre, read plays and create. The more you do these three things, the more you will fall in love with theatre, deepen your appreciation and understanding of the art form and develop your ability to produce sophisticated pieces of theatre. Doing any of these will develop your knowledge and ability, but the top drama students find the balance between all three: Watching theatre is the best way a drama practitioner gets inspired and generates initial ideas. You will see things on stage which will make you think or feel a certain way; it may prompt a cathartic response, shock you or make you consider a topic in a completely new light. As practitioners, we are constantly stealing and adapting each other’s ideas to create great theatre. Reading plays gives you a deeper appreciation of the history and tradition of theatre. It also allows you to consider a story and imagine your own directorial, design and performance interpretations. The more you read, the more you exercise your imagination. Creating is crucial to actually applying and practising the skills and ideas you get from watching and reading theatre. You cannot be a top quality dramatist if you do not practise the craft. And the process works both ways. Watching theatre and reading plays will make you a more inspired and informed creator. But creating will also give you a deeper and richer appreciation of the plays you watch and read. Below, I have outlined 16 of my favourite plays, all of which have made an incredibly important cultural contribution to theatre history. -
Key to Creative Spaces in Or Near Westminster Map Activity Name of Organisation Address Postcode Telephone
Key to Creative Spaces in or near Westminster Map Activity Name of Organisation Address Postcode Telephone Most venues offer spaces which can be adapted to a variety of uses: auditions, workshops Places of worship classes, filming and events. Please contact the venues direct to discuss your requirements 35 R St Anne's Church, Soho 55 Dean Street W1D 6AF 020 7437 8039 Facilities suitable for specific arts activities: A = artist's studio D = dance studio 36 R St Gabriel's Halls Churchill Gardens SW1V 3AA 07967 655 515 E = exhibition space F = film or TV studio M = music P = performance R = rehearsal 37 E P R St James the Less Westminster Thorndike Street SW1V 2PS 020 7630 6282 Map Activity Name of Organisation Address Postcode Telephone 38 P R St John's, Smith Square Smith Square SW1P 3HA 020 7222 2168 Large Mixed Use Spaces 39 R St Martin-in-the-Fields Trafalgar Square WC2N 4JJ 020 7766 1165 1 Abbey Community Centre 34 Great Smith Street SW1P 3BU 020 7222 0303 40 St Mary Magdalene Church Rowington Close W2 5TF 07973 859 995 2 E D F M P Asia House 63 New Cavendish Street W1 7LP 020 7307 5454 41 P R St Saviour Pimlico St. George’s Square SW1V 3QW 020 7834 9520 3 R Amadeus Centre 50 Shirland Road W9 2JA 020 7286 1686 Private Sector 4 D P R Cecil Sharp House 2 Regent's Park Road NW1 7AY 020 7485 2206 42 Electric Barge Grand Union Canal W2 6NA 020 7266 8247 5 P R Rudolf Steiner House 35 Park Road NW1 6XT 020 7723 4400 43 Institute Francais 17 Queensberry Place SW7 2DT 020 7871 3516 6 Serpentine Gallery Kensington Gardens W2 3XA 020 7298 1522