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Images of Violence in Complicite Obrazy Przemocy W Complicite
Images of Violence in Complicite Tom 5/2017, ss. 53-60 ISSN 2353-1266 e-ISSN 2449-7983 DOI: 10.19251/sej/2017.5(4) www.sej.pwszplock.pl Tomasz Wiśniewski Uniwersytet Gdański Images of Violence in Complicite Obrazy przemocy w Complicite Abstract Abstrakt In British theatre of the last three W ciągu ostatnich trzech dekad decades, we observe a significant shift from można zaobserwować w brytyjskim teatrze the more verbal, playwright-focused model of odejście od modelu teatru opartego na słowie, theatre whose meanings are determined pri- którego znaczenia determinowane są przez marily by the literary concept of drama to the literacką koncepcję dramatu na rzecz teatru, one which exercises more profoundly artistic który korzysta w większym zakresie z auto- autonomy of theatre. Complicite is one of the nomii artystycznej teatru . Complicite to jedna leading theatre companies that are responsible z tych grup teatralnych, które stoją za tymi for this shift. In the performances of Complic- zmianami. W przedstawienich Complicite, ite, the theme of violence has been explored temat przemocy pojawia się regularnie i do frequently. The whole variety of theatre jej zaprezentowania wykorzystywany jest devices were employed in depicting images of cały wachlarz środków artystycznych. Arty- violence. The article discusses plays such as kuł omawia sztuki: Mnemonic, The Street of Mnemonic, The Street of Crocodiles, Measure Crocodiles, Measure for Measure, The Mas- for Measure and The Master and Margarita, ter and Margarita, A Disappearing Number, A Disappearing Number, Shun-kin and The Shun-kin, The Encounter i kilka innych. Encounter and mentions others. Słowa kluczowe: Complicite, Simon Keywords: Complicite, Simon McBurney, Mnemonic, The Encounter, prze- McBurney, Mnemonic, The Encounter, vio- moc, badania nad teatrem, komunikacja, lence, theatre studies, communication, semi- semiotyka otics 54 Tomasz Wiśniewski Tom 5/2017 1 . -
Mcdonald Garry
GARRY MCDONALD | Actor FILM Year Production / Character Director Company 2014 THE LIGHT BETWEEN OCEANS Derek Cianfrance LBO Productions Bill Graysmark 2012 VENICE Miro Bilbrough Venice Productions. Arthur 2011 BURNING MAN Jonathon Teplitzky Burning Man Productions. Doctor 2010 DON’T BE AFRAID OF THE DARK Troy Nixey Don’t Be Afraid (Aust) Pty Ltd. Emerson Blackwood 2002 THE RAGE IN PLACID LAKE Tony McNamara Rapacious Pictures. Doug Lake 2000 RABBIT PROOF FENCE Phil Noyce Jabal Films. Mr Neal 1999 MOULIN ROUGE Baz Luhrmann Bazmark. The Doctor 1998 MR ACCIDENT Yahoo Serious Happy Brand Films. Kelvin 1991 STRUCK BY LIGHTNING Jerzy Domaradzki Dark Horse Pictures. Rennie 1986 THOSE DEAR DEPARTED Ted Robinson Phillip Emanuel Productions. Max Falcon 1986 THE BEE-EATER George Ogilvie Daedalus Films. Shanahan Management Pty Ltd Level 3 | Berman House | 91 Campbell Street | Surry Hills NSW 2010 PO Box 1509 | Darlinghurst NSW 1300 Australia | ABN 46 001 117 728 Telephone 61 2 8202 1800 | Facsimile 61 2 8202 1801 | [email protected] Dan Burroughs 1985 WILLS AND BURKE: THE UNTOLD Bob Weis Stoney Desert Limited. STORY Robert O'Hara Burke 1982 MOLLY Ned Lander Troplisa Productions. Jones 1982 GINGER MEGGS Jonathan Dawson John Sexton Productions. Mr Meggs 1982 THE PIRATE MOVIE JHI Productions Police Sergeant, French Inspector, Long John Silver, and the voice of the Parrot. 1977 PICTURE SHOW MAN John Power Limelight Productions. Lou 1975 PICNIC AT HANGING ROCK Peter Weir Picnic Productions. Const. Jones 1974 STONE Sandy Harbutt Hedon Productions. Mechanic 1973 AVENGERS OF THE REEF Chris McCullough Timon Productions. Updike’s Aide TELEVISION Year Production/Character Director Company 2014 OFFSPRING: SERIES 5 Various Southern Star. -
Complicite's 'The Encounter' Edinburgh International Conference Center, Edinburgh International Festival; 480 Seats; £32 ($50) Top
REVUE DE PRESSE SIMON MCBURNEY The Encounter 08 – 12.09.2015 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... Theatre Expat In Switzerland? £50k+ Savings? Try A Free Review To Show You The Best Interest Rates! Theatre / What to See WHAT TO SEE Edinburgh: The Encounter, International Conference Centre, review: 'spellbinding' share THE ENCOUNTER IS ONE OF THE EARLY HITS OF THE EDINBURGH INTERNATIONAL FESTIVAL CREDIT: A. PHILLIPSON/LIVEPIX BB y DDoommiinniicc CCaavveennddiisshh THEATRE CRITIC 9 AUGUST 2015 • 2:08PM share 1 sur 6 27.08.15 12:08 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... You are alone in the dense, almost inaccessible Amazon region of Brazil, 400 miles from "civilisation". The aim is to take photographs of an elusive, barely contacted tribes-people called the Mayoruna – to show the world what they look like. And, amazingly, you strike gold. There, suddenly, some of them are. You follow them, snapping as you go – failing, unlike Hansel and Gretel, to leave a trail behind you. The story of the American photographer Loren McIntyre’s incredible 1969 encounter with “the cat people” (so named because of the whisker-like palm-spines adorning their lips and noses) is the stuff of a twisting, turning, thoroughly engrossing fairytale. And in re-telling it, in this brilliant solo show mounted by his much-travelled company Complicite, Simon McBurney adopts a high-tech bedside manner that places the audience in the role of wide-eyed – or should that be wide-eared? – children. -
Anita Heiss Brendan Cowell
WeLcOMe This level of innovation and growth is due MeSSaGe to many people who have contributed their time and their talent during the past 10 OUr PreSeNtING years. There are too many to mention, but SPONSOr those who stand out are David and Kristen Williamson, John Fell, Karen Mitchell, You would expect Rowland Hill, Earle Bailey and Simon the opening Gamble all of whom we have considered remarks to friends and whose friendship and an event that commitment we have valued immensely. Macquarie has Separately, I would especially like to sponsored for acknowledge the special talent and 10 years would dedication of our Festival Director, Ian start something MacKellar, who for the past three years like: “Macquarie has added a level of professionalism and is proud to be creative talent that guarantees our Noosa associated with the Noosa Longweekend Longweekend Festival its place among which is celebrating its 10th Anniversary Australia’s best. this year.” We have spent 10 years marvelling at this These words might accurately describe festival and believing that each year could Macquarie’s relationship with one of not be topped – only to come back the next Australia’s best cultural festivals, but year to find ourselves once again amazed somehow it falls short of expressing just at the quality and the breadth. how important the Noosa Longweekend is to us. I wish you all a wonderful 10th Anniversary and I know this year will be the best ever. For the past decade we have watched this pre-eminent cultural festival grow, each year it attracts bigger and more talented artists, it is innovative in the breadth of its genres and it takes calculated risks with the acts it has experimented with, yet it Peter Maher also maintains a strong link to the local Group Head, Macquarie Banking and community. -
Melbourne Theatre Company
David Williamson’s WELCOME At MTC we are passionate about Australian stories, be they modern masterpieces or brand new plays fresh off the page. In our 2020 season new works dominate, but there was one classic we couldn’t go past, especially as its revival marks a particularly special milestone. In his 50th year as a playwright, we celebrate David Williamson’s incredible career and achievements as a writer with this new production of Emerald City – one of his finest plays and an undeniable Australian classic. As the 21st century seems to careen again into the Greed is Good world of self-interest, self-obsession, consumerism and real estate dreams so pervasive in the 1980s, there is no better time to re-visit this classic play. Set at the height of the 80s pandemic of wealth accumulation at all costs, Emerald City takes the blowtorch to one of our most visible signs of money vs humanity – the wrestle between art and commercialism. This high-velocity dramedy, full of Williamson wit and zingers, uses of course its infamous backdrop of Sydney/Melbourne rivalry to land its exploration of seduction by wealth, beauty and a gorgeous harbour view. But more broadly, its revival in 2020 asks whether we ever really left behind the Greed is Good years of the 80s. Please do read both David’s essay in this programme and that of director Sam Strong, who each write so eloquently about Emerald City’s themes and about David’s astonishing career. David is revered around the country as one of our most popular dramatists, and his prolific output and critical success have long secured his place in the literary canon. -
Programme for Cheek by Jowl's Production of the Changeling
What does a cheek suggest – and what a jowl? When the rough is close to the smooth, the harsh to the gentle, the provocative to the welcoming, this company’s very special flavour appears. Over the years, Declan and Nick have opened up bold and innovative ways of work and of working in Britain and across the world. They have proved again and again Working on A Family Affair in 1988 that theatre begins and ends with opposites that seem Nick Ormerod Declan Donnellan irreconcilable until they march Nick Ormerod is joint Artistic Director of Cheek by Jowl. Declan Donnellan is joint Artistic Director of Cheek by Jowl. cheek by jowl, side by side. He trained at Wimbledon School of Art and has designed all but one of Cheek by As Associate Director of the National Theatre, his productions include Fuente Ovejuna Peter Brook Jowl’s productions. Design work in Russia includes; The Winter’s Tale (Maly Theatre by Lope de Vega, Sweeney Todd by Stephen Sondheim, The Mandate by Nikolai Erdman, of St Petersburg), Boris Godunov, Twelfth Night and Three Sisters (with Cheek by Jowl’s and both parts of Angels in America by Tony Kushner. For the Royal Shakespeare Company sister company in Moscow formed by the Russian Theatre Confederation). In 2003 he has directed The School for Scandal, King Lear (as the first director of the RSC Academy) he designed his first ballet, Romeo and Juliet, for the Bolshoi Ballet, Moscow. and Great Expectations. He has directed Le Cid by Corneille in French, for the Avignon Festival, Falstaff by Verdi for the Salzburg Festival and Romeo and Juliet for the Bolshoi He has designed Falstaff (Salzburg Festival), The Rise and Fall of the City of Mahagonny Ballet, Moscow, becoming the first stage director to work with the Bolshoi Ballet since 1938. -
The Art of Cultural Exchange Translation and Transformation Between the UK and Brazil
The Art of Cultural Exchange Translation and Transformation between the UK and Brazil Edited by Paul Heritage Queen Mary University of London, UK Ilana Strozenberg Federal University of Rio de Janeiro (UFRJ), Brazil Curating and Interpreting Culture a project by in partnership with Funded by People’s Palace Projects is funded by Copyright © 2019 by the Authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Curating and Interpreting Culture Library of Congress Control Number: 2018967188 ISBN: 978-1-62273-438-2 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Authors in alphabetical order vii Foreword xiii Graham Sheffield Preface xv Martin Dowle Introduction xvii Paul Heritage Part 1. -
A Place to Call Home Media
Australia’s number one drama is back A PLACE TO CALL HOME Holding the secret of James’ attempted Which secrets will come out? Which WAS THE MOST-WATCHED suicide forever linked Sarah’s future with secrets will be buried? the Blighs. AUSTRALIAN DRAMA A Place to Call Home is created by Bevan SERIES OF 2013. Over time, her connection with charming Lee, the man behind iconic Australian widower George Bligh developed into love, shows such as Packed to the Rafters, It was lauded by critics who hailed it and the unexpected romance helped Sarah Always Greener and Winners & Losers. ‘mesmerising’, ‘captivating’ and ‘a class move on from the death of her beloved The cast features MARTA DUSSELDORP act.’ With a combined weekly audience of husband Rene, murdered by the Nazis. 2.2 million viewers each week, it cemented as Sarah Adams, NONI HAZLEHURST as its place in TV history and people’s hearts. This series will see Sarah move into Ash Elizabeth Bligh, BRETT CLIMO as George Park and work to prove herself a fitting Bligh, CRAIG HALL as Dr. Jack Duncan, Last year’s dramatic finale saw the lives of wife-to-be for George, while his mother SARA WISEMAN as Carolyn Bligh, DAVID the Bligh family imploding. Elizabeth plays a devious waiting game BERRY as James Bligh, ARIANWEN After paying off Bert to keep him quiet to see what Regina will unearth about PARKES-LOCKWOOD as Olivia Bligh, about his son James’ sexuality, George Sarah’s past in Europe. ABBY EARL as Anna Bligh, ALDO MIGNONE as Gino Poletti, MATT LEVETT as Andrew was furious when he attempted to extort Little does Sarah know, Elizabeth will Swanson and FRANKIE J. -
THEATRE in ENGLAND 2012-13 UNIVERSITY of ROCHESTER Mara Ahmed
THEATRE IN ENGLAND 2012-13 UNIVERSITY OF ROCHESTER Mara Ahmed The Master and Margarita Barbican Theatre 12/28/12 Based on Mikhail Bulgakov’s novel, this adaptation by Simon McBurney is as inventive and surprising as the book’s storyline. Satan disguised as Professor Woland visits Stalinist Russia in the 1930s. He and his violent retinue use their black magic and death prophesies to dispose of people and take over their apartments; most villainy and betrayal in the play is in fact motivated by the acquisition of apartment space. Bulgakov is satirizing the restriction of private space in Stalin’s Russia but buildings are also a metaphor for the structure of society as a whole. Rooms are demarcated by light beams, in the constantly changing set design, in order to emphasize relative boundaries and limits. The second part of the play focuses on Margarita and her lover, a writer who has just finished a novel about the complex relationship between Pontius Pilate (the Roman procurator of Judaea) and Yeshua ha-Nostri (Jesus, a wandering philosopher). Margarita calls him the Master on account of his brilliant literary chef d’oeuvre. She is devoted to him. However, the Master’s novel is ridiculed by the Soviet literati and after being denounced by a neighbor, he is taken into custody and ends up at a lunatic asylum. The parallels between his persecution and that of his principal character, Jesus, are brought into relief by constant shifts in time and place, between Moscow and Jerusalem. Margarita makes a bargain with Satan on the night of his Spring Ball, which she agrees to host, and succeeds in saving the Master. -
High Priest Amanda Lohreyon David Walsh Andtasmania's Museum of Old and New Art
The Monthly January, 2011 Brief: MONA Page: 78 Page 1 of 7 Section: General News Region: National Type: Magazines Business Size: 2,002.40 sq.cms. Frequency: Monthly High Priest Amanda Lohreyon David Walsh andTasmania's Museum of Old and New Art The Moorilla estate is set on a peninsula of sandstone cliffs he discovered that the scope for winning at card games was that juts out into the Derwcnt estuary on Hobart's northern limited he dropped out of his degree and, for most of the fringe. Framed to the south-west by the looming grandeur '8os and early '9os, spent ioo or more hours per week de- of Mt Wellington and to the east by Mt Direction, the slopes veloping a mathematical model that would enable him and of the peninsula are planted with grapevines, and a cluster his partners to win at other forms of gambling, especially of modern buildings perch atop the rise. It is here that horseracing. This he now pursues on a large scale in a num- the visionary project, the Museum of Old and New Art ber of countries. (MONA) is due to open on 21 January 2011, an $8o million There is a network of people involved in Walsh's outfit, wonder that will house a private art collection valued at over most notably his business partner of 30 years, Zeljko Ra- $ioo million. Already it has been hailed as the "Bilbao of nogajec. Walsh met Ranogajec at university where the latter the south" and the "Getty of the Antipodes", expecting an studied law and economics before he too dropped out to estimated 350,000 visitors per annum, contributing a major pursue a career in gambling. -
The Encounter
THE ENCOUNTER UNITED KINGDOM COMPLICITE / SIMON MCBURNEY INSPIRED BY THE BOOK AMAZON BEAMING BY PETRU POPESCU DIRECTED BY SIMON MCBURNEY PHOTOGRAPH: TONI WILKINSON FREE PROGRAMME WWW.AAF.CO.NZ / #AKLFEST FACEBOOK.COM/AKLFESTIVAL @AKLFESTIVAL @AKLFESTIVAL THE ENCOUNTER COMPLICITE/SIMON MCBURNEY ASB THEATRE, AOTEA CENTRE WEDNESDAY 15 - FRIDAY 17 MARCH 7.30PM SATURDAY 18 MARCH 1.30PM & 7.30PM SUNDAY 19 MARCH 2.30PM 1 HOUR 50 MINUTES NO INTERVAL POST SHOW TALK: THURSDAY 16 MARCH TOUCH TOUR: SUNDAY 19 MARCH, 1.00PM NAU MAI HAERE MAI KI TE AHUREI TOI O TĀMAKI MAKAURAU Welcome to the 2017 Auckland Arts Festival Great artists cause controversy, start revolutions and little by little change the world. Festivals like ours are a catalyst for change creating opportunities for artists to communicate with audiences and audiences to respond to artists’ work. Throughout the Festival you will find small threads that deal with our world today. We hope that the work in the Festival can make you think, laugh, scream a little and perhaps even cry. It is fantastic to have Complicite at our Festival. I have been trying to get them to New Zealand for almost 20 years – success at last – for my final festival. The Encounter is an extraordinary show. I have seen it three times and each time it blows me away. This is real theatre magic where storytelling and technology come together to talk about our world and what matters. Welcome to The Encounter and to the members of Complicite. The Festival’s CEO David Inns (my partner and collaborator of many years), our Board and staff, hope you have a fabulous Festival. -
Ma Fille De Ans Pourrait Le Faire
CONTEMPORAINMA FILLE DE ANS POURRAIT LE FAIRE L’ARTBRISONS LES MURS ET LES CLICHÉS Rencontrez 10 artistes - Visitez 100 lieux Découvrez une ville différemment ateliershenrydougier.com AFFICHE_10_100_A3_MA_FILLE_V3.indd 1 24/01/2020 15:06 TISTES10 100LIX UN LIVRE + UN GUIDE Le livre – 2 préfaciers évoquent la scène artistique de la ville depuis 50 ans – 10 artistes racontent leur travail, leurs RTITE inspirations et leur rapport à la ville 10 Londres Le guide Visite guidée de 100 lieux clés de la ville + classés par quartier et par discipline, cartes à l'appui 100LIX Michèle Fajtmann Préfaces de Hannah Barry et Daniel Rachel AU CŒUR DE LA CRÉATION CONTEMPORAINE AU CŒUR DE LA CRÉATION SOM- Créée en 2014, la maison dédition les ateliers henry dougier souhaite « raconter » la société contemporaine dans le monde, en donnant la parole aujourdhui à des témoins souvent invisibles et inaudibles : peuples, régions, métiers, catégories sociales ou générationnelles parlent ici de leurs valeurs, de leur mémoire, MAIRE de leur imaginaire, de leur créativité. Notre objectif : briser les murs et les clichés. Avant-propos de l’auteure 6-9 Préface de Daniel Rachel 10-13 Préface de Hannah Barry 14-17 Entretiens avec 10 artistes 18-97 Portraits de 100 lieux clés 98-155 + cartographie par quartier Index des 100 lieux 156-159 01. ENTRE TIE20.NS Eileen Cooper 28. Akram Khan 36. Anna Meredith 44. Yinka Ilori 52. Mary Katrantzou AVEC 60. Ben Eine 68. Amanda Levete 76. Conrad Shawcross 84. Gillian Wearing RTITE10 92. Simon McBurney | Entretien avec Eileen Cooper | 20 21 ileen Cooper grandit à Glossop.