DOCSLIB.ORG

Discover NLS, Where You Will Find Epic Journeys Undertaken

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Discover NLS, Where You Will Find Epic Journeys Undertaken ✶ F TOM KITCHIN EXPLORES REE T he culinary gems in our archive ✶ The magazine of the National Library of Scotland www.nls.uk | Issue 23 Summer 2013 RETURN TO TREASURE ISLAND WOMEN OF SCIENCE INSIDE P ICTURinG AFRICA Livingstone’s expedition into the heart of Africa Theatre fit for aKing’s NATIONAL THEATRE OF SCOTLAND and ROYAL SHAKESPEARE COMPANY present DUNSINANE BY DAVID GREIG DIRECTED BY ROXANA SILBERT Tue 4 to Sat 8 June 2013 Tue 1 to Sat 5 October 2013 A major new stage adaptation by Ayub Khan-Din Based on the book by E.R. Braithwaite Mon 7 to Sat 12 October 2013 Tue 29 October to Sat 2 November 2013 MANSFIELD PARK By Jane Austen Tue 5 to Sat 9 November 2013 Sat 30 November 2013 to Sun 19 January 2014 * BOX OFFICE 0131 529 6000 GROUPS (8+) 0131 529 6005 * KING’S theatre edtheatres.com EDINBURGH *Booking fees. Registered charity SC018605. King’s Theatre, 2 Leven Street, Edinburgh, EH3 9LQ WELCOME ✶ TOM KITCHIN EXPLORES FREE The culinary gems in our archive ✶ The magazine of the National Library of Scotland www.nls.uk | Issue 23 Summer 2013 S tep into summer RETURN TO TREASURE ISLAND WOMEN OF SCIENCE at the Library As the summer months approach many of us will naturally INSIDE PICTURING be contemplating warmer climes and exotic shores for fresh AFRICA Livingstone’s expedition into perspectives and adventure. That spirit of exploration the heart of Africa appropriately takes centre stage in this latest issue of Discover NLS, where you will find epic journeys undertaken 01 NLS-spring13_COVER.indd 1 03/06/2013 10:41 in the name of science, religious evangelism and pure DISCOVER NLS swashbuckling enterprise. ISSUE 23 SUMMER 2013 Within these pages we celebrate the bicentenary of the birth of Scotland’s greatest explorer, David Livingstone. CONTACT US Through rarely seen archive materials, our latest We welcome all comments, exhibition looks at how his travels as a missionary across questions, submissions and subscription enquiries. Please uncharted territory in Africa brilliantly unveiled the write to us at the National continent to Victorian Britain. It is a legacy that has been Library of Scotland address below or email [email protected] borne out in stunning period illustrations, paintings and early photographs. FOR NLS We also feature the work of another notable EDITOR-IN-CHIEF Alexandra Miller individual who helped to broaden the horizons of EDITORIAL ADVISER 19th-century audiences. Robert Louis Stevenson’s Willis Pickard Treasure Island continues to enthrall 130 years after its CONTRIBUTORS first publication in book form. Andrew Martin, Curator of Catherine Booth, Bryan Modern Scottish Collections, delves into the history of the Christie, Martin Conaghan, Jackie Cromarty, Chris Fleet, definitive yarn about buccaneers and buried gold. Sally Harrower, Alec Venerable novels are of course only part of the expansive Mackenzie, Nicola Marr, Andrew Martin, David McClay, and ever-growing collections of NLS. Non-print items are Dora Petherbridge, Faye being recorded for posterity too. Thompson, Lois Wolffe We reveal how new regulations are allowing us the right EDITOR to preserve electronic publications such as e-books, blogs Jack Kibble-White and the entire UK web domain. As uncharted a frontier as [email protected] Livingstone’s Africa, this digital landscape will provide an DEPUTY EDITOR ANE invaluable account of our social and cultural heritage for R H Andrew Cattanach andrew.cattanach@ generations of future researchers. coc thinkpublishing.co.uk M Elsewhere, Science Curator Catherine Booth profiles L O C the achievements of three pioneering Scottish women L DESIGN Matthew Ball ma scientists – Muriel Robertson, Marion Gray and Isabella : : E G SUB-EDITORS Gordon. From advances in marine biology to the field of PA Anne Boyle, Sian Campbell, S theoretical mathematics, the Library holds many of their HI Sam Bartlett T , N studies that further knowledge of the world around us. O I PUBLISHER John Innes T With all the regular news and events included as well, [email protected] HIBI X I hope there is much in this issue to inspire you to make MY ART N WADE E S ADVERTISING Alison Fraser L some important discoveries of your own that will enhance National Librarian alison.fraser@thinkpublishing. co.uk 0141 946 8708 your steps into warmer seasonal climes. and Chief Executive trave S ’ PUBLISHED by TONE Think Scotland S G Woodside House N I THREE NLS LEARNING ZONE RESOURCES V I 20-23 Woodside Place L G Glasgow G3 7QF N I 0141 582 1280 ISSN 1751-5998 (print) TRAT 1 2 3 S ISSN 1751 6005 (online) U LL ON THE ORIGIN THE IDEAS A HOME AWAY I : A National Library of Scotland OF SPECIES FACTORY FROM HOME C I George IV Bridge Meet the Younger writers Vivid first-hand FR A Edinburgh EH1 1EW G ancestors in this will enjoy learning accounts of N I TELEPHONE 0131 623 3700 R introduction to how to plan their emigration from U FAX 0131 623 3701 T Charles Darwin’s stories before Scotland support C EMAIL [email protected] most famous putting pen to students studying The National Library of book. paper in this online the topic at Scotland is a registered digital.nls.uk/ workshop. secondary level. Scottish charity. Scottish jma/who/darwin/ digital.nls.uk/ digital.nls.uk/ originswf ideas-factory home-away FRONT COVER PI COVER FRONT Charity No. SC011086 Summer 2013 | DISCOVER NLS | 3 Discover NLS May 2013_Layout 1 13/05/2013 13:13 Page 1 MANUSCRIPT GUIDE TO SHIPPING SIGNALS AND FLAGS Rare Books, Maps, c.1800, 56 manuscript pages including an index, with a selection of beautiful hand-drawn and coloured flags Manuscripts & Photographs Auction SOLD FOR £5,800 JANUARY 2013 We hold dedicated book auctions in Scotland every January, May and September. We are currently accepting entries for our September 2013 Sale. For more information, or for a free, no-obligation valuation, please call us on 0131 557 8844, or email: Simon Vickers [email protected] Cathy Marsden [email protected] E D I N B U R G H L O N D O N G L A S G O W The auctions will be held in our Edinburgh Saleroom at 33 Broughton Place, Edinburgh EH1 3RR. 0131 557 8844 | [email protected] For sale details, viewing times and fully illustrated catalogues please visit www.lyonandturnbull.com CONTENTS 20 22 6 USING NLS 9 NEWS The latest news and comment, including a celebration of Pride and Prejudice, events at the Library and a project to preserve Scotland’s sound recordings 14 AN EXPEDITION INTO THE ART OF AFRICA Exploring the life and legacy of David Livingstone ahead of a major summer exhibition 19 A CULINARY 14 TREASURE TROVE T he explorer A collection of Victorian recipes who created is just one example of the Library’s amazing collections an enduring image of Africa 20 WOMEN OF SCIENCE Catherine Booth profiles three Scottish women scientists who excelled in their field CONTRIBUTORS TO THIS ISSUE INCLUDE 22 YO-HO-HO, AND A BOTTLE OF RUM! Andrew Martin investigates the lasting appeal of Robert Louis Stevenson’s Treasure Island 27 THE DIGITAL DEPOSIT With new regulations in place to allow libraries to collect online Martin Conaghan Dora Petherbridge Andrew Martin Catherine Booth David McClay media, Bryan Christie explores A journalist Dora is US and The Library’s Catherine is a A Senior Curator in the value of digital publications working for the Commonwealth Modern Scottish Science Curator. Manuscripts, BBC, Martin is also Assistant Curator Collections In this issue she David is the co-author of the at the Library and Curator, Andrew is writes about curator of this 29 MY NLS award-winning writes about a key also involved in the three notable summer’s graphic novel publication with Scots Language Scottish women Livingstone BRIDGEMAN, MALCOLM COCHRANE MALCOLM BRIDGEMAN, 30 LAST WORD Burke & Hare American origins Centre scientists exhibition at NLS Summer 2013 | DISCOVER NLS | 5 USING THE LIBRARY Make the most of your National Library With a collection of more these resources are than 15 million printed The Visitor available on the internet Centre at NLS to customers resident in items, two million maps, Scotland, although 32,000 films, three miles additional conditions may of manuscripts, plus apply in line with our licence agreements. Your thousands of photographs, first port of call to access getting around NLS the Library's licensed digital requires a little navigation collections is https://auth. nls.uk/ldc Additionally, recent NLST LOCA IONS legislation has given NLS Films and the other five legal Scottish Screen Archive deposit libraries in the UK 39-41 Montrose Avenue the legal right to collect, Hillington Park store and preserve the Glasgow G52 4LA and order items from required material in advance nation's memory in the Tel 0845 366 4600 the collections, you need to of your visit to the Library. digital age. There will be a Email [email protected] hold a library card. This Requests can be made in mixture of electronic can be obtained by person, by telephone on content available including Maps completing the online form 0131 623 3820 or 3821, or by websites in the UK domain Causewayside Building at https://auth.nls.uk/ email: [email protected] web archive, and articles/ 159 Causewayside registration. Simply follow In addition, if you have a chapters from e-books Edinburgh EH9 1PH the steps on the website. library card, books can be and e-journals. This Tel 0131 623 3970 On your first visit to the ordered in advance via material can be viewed Email [email protected] Library, you should go to the online catalogue on on Library computers Mon-Fri 9.30am-5pm Registration where staff our website.
Load more

Recommended publications
  • The Power of Theatre
    THE POWER OF THEATRE Speech delivered by Graham Sheffield for the opening of the National Taichung Theater, Taiwan on 1st October 2016. People use the phrase “powerful” in so many ways when it comes to art, and theatre in particular - take last night's performance of Wagner's Das Rheingold, for example And yet, when it comes to the specifics of that so- called “power”, it becomes much harder to pin down. So I was excited to be asked to talk about the subJect here in Taiwan – and thank you so much for the invitation to come here on my first visit. I feel very honoured, as well as delighted, to be here. I thought I’d use the occasion to investigate the subJect through my own experience throughout my life, through the work of the British Council, and also through the observations of several distinguished professionals in the business, writers, actors, producers and directors, all of whom who've been very generous with their time. The opening for this talk occurred to me a few weeks ago in Liverpool in the north west of England – an old port city, now much revived through investment into the arts, both in terms of its infrastructure and its artists. It’s a very cosmopolitan city – birthplace of the Beatles, home to artistic institutions including Tate Liverpool, FACT arts centre, the International Slavery Museum, the Everyman Theatre, as well as Paul McCartney's school for the performing arts. It has a large and diverse population, home to the oldest black and Chinese communities in England, and known historically for its large Irish and Welsh populations.
    [Show full text]
  • Book of Abstracts
    ABSTRACTS AND BIOGRAPHIES Thursday, October 11, 2018 9.45 PANEL: Across Languages Chair: Claire Hélie (Lille University) 1. Maggie Rose (Milan University) Importing new British plays to Italy. Rethinking the role of the theatre translator Over the last three decades I have worked as a co-translator and a cultural mediator between the UK and Italy, bringing plays by Alan Bennett, Edward Bond, Caryl Churchill, Claire Dowie, David Greig, Kwame Kwei-Armah, Hanif Kureishi, Liz Lochhead, Sabrina Mahfouz, Rani Moorthy, among others,to the Italian stage. Bearing in mind a complex web of Italo-British relations, I will discuss how my strategies of cultural mediation have evolved over the years as a response to significant changes in the two theatre systems. I will explore why the task of finding a publisher and a producer\director for some British authors has been more difficult than for others, the stage and critical success of certain dramatists in Italy more limited. I will look specifically at the Italian ‘journeys’ of the following writers: Caryl Churchill and my co-translation of Top Girls (1986) and A Mouthful of Birds, Edward Bond and my co-translation of The War Plays for the 2006 Winter Olympics in Turin and Alan Bennett and my co-translation of The History Boys at Teatro Elfo Pucini from 2011-3013, at Teatro Elfo Puccini and national tours. Maggie Rose teaches British Theatre Studies and Performance at the University of Milan and spends part of the year in the UK for her writing and research. She is a member of the Scottish Society of Playwrights and her plays have been performed in the UK and in Italy.
    [Show full text]
  • Versión Repositorio
    Universidad de Salamanca Facultad de Filología Departamento de Filología Inglesa THE EMERGING SPACES OF SCOTTISH DRAMA AND THEATRE IN THE 1990s Tesis para optar al grado de doctor presentada por András Beck Directora: Olga Barrios Herrero V°B° Olga Barrios Herrero András Beck Salamanca, 2015 This dissertation is dedicated to my maternal grandparents, János (b. 1922) and Mária Viola (b. 1931), whose faith, hope and love helped them survive the darkest moments of the twentieth century. May the sufferings of their generation never be forgotten. Acknowledgements On the academic side, I would like to express my deep gratitude to Olga Barrios for the excellent supervision of my work. Her minute corrections, stimulating suggestions and continued guidance towards the completion of this dissertation always pointed me in the right direction. I greatly benefited from her personalised, down-to-earth approach to supervising projects and her dedication to students, for which working with her was a privilege. Particular thanks go to Deana Nichols for kindly looking over some of my chapters, providing insightful feedback and sharing my enthusiasm for contemporary Scottish drama and theatre. I am equally grateful to Mária Kurdi and Gertrud Szamosi, whose excellent courses on theatre and Scotland, respectively, were decisive for the direction my PhD studies took and who welcomed me back at the University of Pécs for my research stay. I would especially like to thank the encouragement and intellectual inspiration received from Ian Brown, Danièle Berton-Charrière and Jean Berton at the meetings of the French Society for Scottish Studies (Société Française d’Etudes Ecossaises ) and beyond.
    [Show full text]
  • David Greig's Theatre
    THE “POLETHICS” OF THE MEDIATED/TIZED SPECTATOR IN THE GLOBAL-TECHNOLOGIZED AGE: DAVID GREIG’S THEATRE Verónica Rodríguez Universidad de Barcelona Abstract: Contemporary Scottish playwright David Greig’s dramaturgy has been concerned with the massive changes wrought across the world by neoliberal globalization in the last two decades. A political triple turn comprising ethics, the media and the spectator, and a shift between the notion “‘mediatized’ reiterative ‘expectator’” to “mediated performing spectator” within the “polethic” frame of ‘relationality’ in Greig’s works are argued in this article. It is further argued that the plays examined (Damascus, The American Pilot, Brewers Fayre and Fragile) use productive strategies like diffusion, reversibility and interchangeability, which foreground the asymmetries of the global/technologized age “polethically” mediating the global performing spectator. Key Words: Globalization, David Greig, Media, Spectator, Ethics, Politics. Recibido: 18/07/2012 Aceptado: 05/09/2012 TRIPLE TURN: ETHICS, MEDIA & SPECTATORSHIP IN THE GLOBAL-TECHNOLOGIZED AGE In his short review of Michael Kustov’s Theatre@risk, David Greig states that “[t]he thrust of Kustow’s argument is that in a corporate, mediated, screened world the last public space – public in the true sense – is the theatre” (Glasgow Sunday Herald)1 adding that he shares “his passion and confidence that theatre is the necessary art form of the century” (ibid.). Greig’s theatre emerges as a creative response in this milieu by raising questions around the role of ethics, the media and spectators in the context of the global-technologized age when the idea of the nation is being 1 This review appears at the beginning of the 2000’s Methuen edition of Kustov’s Theare@risk.
    [Show full text]
  • Dramatising the Political in Contemporary Scottish Theatre & Performance
    Dramatising the Political in Contemporary Scottish Theatre & Performance with Dr Rania Karoula The session will start at 12:00 BST. Dramatising the Political in Contemporary Scottish Theatre and Performance Dr Rania Karoula Teaching Fellow in Literature and Theatre [email protected] Images: 1. Leaflet for the original production of Europe, Traverse Theatre, Edinburgh 1994. 2. Poster for the play The Cheviot, the stag and the black black oil at the Lyceum Theatre, Edinburgh, 1973. 3. Black Watch, photo by Manuel Harlan (NTS). 4. Alison Peebles as Queen Elizabeth I. Photo by Sean Hudson. 5. Production photo of The Suppliant Women, Royal Lyceum, 2016. Defining the ‘political’ in theatre • ‘Political theatre is intellectual theatre. Political meaning is “read” by the spectator’. (Michael Kirby) • ‘The political realm rises directly out of acting together, the “sharing of words and deeds”. The theatre is the political art par excellence; only there is the political sphere transposed into art. By the same token, it is the only art whose sole subject is man in his relationship to others’. (Hannah Arendt) • ‘The theatre can never “cause” a social change. It can articulate pressure towards one, help people celebrate their strengths and maybe build self- confidence…Above all, it can be the way people find their voice, their solidarity and their collective determination’. (John McGrath) • ‘The history of political theatre is also a history of how to use spaces other than the proscenium arch’. (Olga Taxidou) What is contemporary drama? • Theatre
    [Show full text]
  • Download Download
    S K E N È Journal of Theatre and Drama Studies 5:2 2019 SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi. Editorial Board Simona Brunetti, Francesco Lupi, Nicola Pasqualicchio, Susan Payne, Gherardo Ugolini. Managing Editor Francesco Lupi. Assistant Managing Editors Valentina Adami, Emanuel Stelzer, Roberta Zanoni. Books Reviews Editors Chiara Battisti, Sidia Fiorato Staff Francesco Dall’Olio, Bianca Del Villano, Marco Duranti, Carina Louise Fernandes, Maria Serena Marchesi, Antonietta Provenza, Savina Stevanato. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Richard Allen Cave, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Daniela Guardamagna, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2019 SKENÈ Published in December 2019 All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://skenejournal.skeneproject.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. (MBE150) – Viale Col. Galliano, 51, 37138, Verona (I) Contents Manuela Giordano
    [Show full text]
  • 1. Platform 10.1 Are We on the Same Page
    Journal of Theatre and Performing Arts Vol.10, No.1 Spring 2016 ‘Are We On The Same Page?’ ISSN: 1751- 0171 1 Platform, Vol. 10, No. 1, Are We On The Same Page?, Spring 2016 Platform: Journal of Theatre and Performing Arts Editors James Rowson and Catherine Love Book Review Editor Poppy Corbett Editorial Board Siobhan O’Neill, Adam Rush and Raz Weiner Advisory Board Mojisola Adebayo (Goldsmiths); Elaine Aston (Lancaster University); Peter Boenisch (University of Surrey); Matthew Cohen (Royal Holloway, University of London); Helen Gilbert (RHUL); Janelle Reinelt (University of Warwick); Joseph Roach (Yale University); Dan Rebellato (RHUL); Helen Nicholson (RHUL); Brian Singleton (Trinity College Dublin); Patrick Lonergan (National University of Ireland, Galway); John Bull (University of Reading); Helena Hammond (University of Roehampton); Sophie Nield (RHUL) Platform is based at, and generously supported by, the Department of Drama & Theatre, Royal Holloway, University of London. Copyright © 2016 Platform: Journal of Theatre and Performing Arts. All rights reserved. No part of this journal may be reproduced or utilised in any form without permission in writing from the publisher. Submission Information Platform: Journal of Theatre and Performing Arts is published biannually. Contributions are Platform: Journal of Theatre and Performing Arts is published biannually. Contributions are particularly welcome from postgraduate researchers, postdoctoral researchers, and early-career academics in theatre and performing arts. We welcome the submission of academic papers, performance responses, photo essays, book reviews, interviews, and new dramatic writing. Platform also welcomes practice- based research papers. Papers should not exceed 4500 words (including notes and references). Practice-based papers should normally include images in JPEG format (300ppi).
    [Show full text]
  • New Scottish Drama at Home and in the German-Speaking Theatre
    Michael Raab (Frankfurt) No More Beautiful Losers: New Scottish Drama at Home and in the German-Speaking Theatre About the reception of new Scottish plays in London, the dramatist David Greig writes that the critics there “feel most comfortable with Scottish work when it fits their understanding of Scots – violent and funny poor people who are slightly frightening. The softer voices, the poetic voices, and the experimental voices are met with bemusement, apathy or patronising disdain”. But, surprisingly, on a 2002 list of ten playwrights thought to be “the future of British theatre” by The Guardian four were Scots. Most of their works were staged at the Traverse Theatre, Scotland’s equivalent to the Royal Court. The establishment of a non-building-based new National Theatre for Scotland further boosted an already lively scene. In a small nation of five million people 600,000 regularly go to the theatre. Joyce McMillan, critic for The Scotsman, emphasizes the importance of devolution after the successful referendum in 1997 for the development of Scottish playwriting. In her opinion it gave young authors the confidence to say, “We’re cool enough, postmodern enough and mature enough not to be spending a lot of time thinking about being Scottish.” The essay examines the enormous formal breadth of new Scottish drama from its ‘annus mirabilis’ in 2002 until today, as well as its reception in the German-speaking theatre. Describes you as a pair of ‘Celtic lyricists’, you could sue the buggers. (John Byrne: Colquhoun and MacBryde) Joyce McMillan, critic for The Scotsman, emphasizes the importance of devolution after the successful referendum in 1997 for the development of Scottish playwriting.
    [Show full text]
  • Contemporary Duologues
    The Good Audition Guides : edited and introduced by London www.nickhernbooks.co.uk Contents nd May by Jack Thorne Anne Boleyn by Howard Brenton Blue Stockings by Jessica Swale Britannia Waves the Rules by Gareth Farr Chicken Shop by Anna Jordan Chimerica by Lucy Kirkwood Fault Lines by Ali Taylor God’s Property by Arinze Kene Lemons Lemons Lemons Lemons Lemons by Sam Steiner Love and Information by Caryl Churchill Moth by Declan Greene Pandas by Rona Munro Pronoun by Evan Placey Rafta, Rafta… by Ayub Khan Din Ramallah by David Greig The River by Jez Butterworth Scarborough by Fiona Evans Scuttlers by Rona Munro Sex with a Stranger by Stefan Golaszewski Spinning by Deirdre Kinahan Tiger Country by Nina Raine Unbroken by Alexandra Wood Unscorched by Luke Owen While You Lie by Sam Holcroft Yen by Anna Jordan Introduction Whether you are doing theatre studies at school, taking part in a youth theatre, at drama school (perhaps in your final year and looking for showcase material), or attending a professional acting workshop, the duologue will arguably provide the most intense form of character exploration and analysis. It will draw on all the essential skills of the actor - namely playing an objective, identifying obstacles, incorporating backstory, staying in the moment and listening. It is what any Stanislavsky-based acting technique is all about, and a well-crafted duologue will allow you to put all these elements into practice.* The twenty-five duologues in this volume are from plays that have largely been written post- . With the odd exception the characters range in age from fourteen to forty.
    [Show full text]
  • Enriching Contemporary Performance of Greek Drama
    Impact case study (REF3b) Institution: University of Glasgow Unit of Assessment: 31 – Classics Title of case study: Taking scholarship to the stage: enriching a contemporary performance of Greek drama 1. Summary of the impact (indicative maximum 100 words) Ian Ruffell significantly contributed to the critically acclaimed production of Euripides’ Bacchae by the National Theatre of Scotland (NTS), which toured London, New York and Scotland in 2008. Ruffell re-translated the work and acted as academic advisor on the script and production, helping to create an accessible, modern yet rigorously accurate interpretation, which moved away from traditional performances of Greek tragedy to draw out the humour, gender and self-reflexivity in The Bacchae. The production attracted audiences of 33,529 in the UK and 9,338 in the US, and Ruffell’s work facilitated their engagement with and better understanding of the ancient Greek drama’s relevance to modern life. 2. Underpinning research (indicative maximum 500 words) The contribution of Ian Ruffell (Lecturer in Classics, University of Glasgow, 2001-present) to the NTS’s production of Euripides’ Bacchae stemmed from over a decade of research into fifth-century Athenian drama, both comedy and tragedy. This provided the skills and experience of translation and exegesis on which Ruffell’s new, literal translation of the Bacchae drew. This new text then underpinned playwright David Greig’s adaptation and informed director John Tiffany’s NTS production. More specifically Ruffell’s research included a focus on the following themes, which informed his interaction with adapter, director and cast: a) self-conscious theatricality in the drama of the period, particularly comedy; b) assessment of the nature and function of humour in drama; c) construction and exploitation of gender in comedy and tragedy; and, d) comparison between the nature of comedy and tragedy.
    [Show full text]
  • The Bacchae the Bacchae by Euripides, in a Version by David Greig
    RCS The Bacchae by Euripides, in a version by David Greig Programme Wed 4 Nov - Thu 5 Nov 2020 New Athenaeum Theatre The Bacchae by Euripides, in a version by David Greig This amateur production is presented by special arrangement with Casarotto Ramsay & Associates RCS Welcome Welcome Welcome to the Royal Conservatoire's first live theatre performance of this new academic year. This production of David Greig's version of Euripides' The Bacchae, directed by Finn den Hertog, is the result of the first in-person rehearsal process carried out by the BA Acting students since the UK entered pandemic lockdown in March 2020. Our final year BA Acting students, supported by their colleagues from the BA Production, Arts and Design, and BA Production Technology Management programmes, have risen to the enormous challenge of rehearsing and staging a play while maintaining social distancing, reduced capacity rehearsal rooms, different approaches to voice work and the safe handling of props, to name just a few Covid led adaptations. Live performance is at the heart of what we do at the Conservatoire and it is testament to the enormous amount of work from everyone over the past 6 months, in order to facilitate in-person rehearsals and live performance, against all the odds, that this is about to happen. The Bacchae features half of our BA Acting Class of 2021, the other half will be bringing David Greig's The Speculator to the same stage in December. The students also continue to explore ways to create theatre and tell stories via online medium and begin to prepare for their Graduate Showcase events planned for March 2021.
    [Show full text]
  • Madness, Resistance, and Representation in Contemporary British and Irish Theatre
    Madness, Resistance, and Representation in Contemporary British and Irish Theatre Submitted by Jonathan Edward Venn to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama, October 2016 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 Mum. Dad. Lizzie. It runs in the family. 2 ABSTRACT This thesis questions how theatre can act as a site of resistance against the political structures of madness. It analyzes a variety of plays from the past 25 years of British and Irish theatre in order to discern what modes of resistance are possible, and the conceptual lines upon which they follow. It questions how these modes of resistance are imbibed in the representation of madness. It discerns what way these modes relate specifically to the theatrical, and what it is the theatrical specifically has to offer these conceptualizations. It achieves this through a close textual and performative analysis of the selected plays, interrogating these plays from various theoretical perspectives. It follows and explores different conceptualizations across both political and ethical lay lines, looking at what composes the theatrical practical critique, how theatre can alter and play with space, how theatre capacitate the act of witnessing, and the possibility of re-invigorating the ethical encounter through theatrical means.
    [Show full text]