http://uk.youtube.com/watch?v=OCc-fj0HLHk
Monday, 12 January 2009
Friday, 9 January 2009
cant pay wont pay
CANT PAY CANT PAY
Synopsis:
Can't Pay? Won't Pay! is set in Milan during the 1970s-a period of political radicalization and frequent strike actions in Italy; but "the problems are desperately familiar...Fo-faced farce wears a broad smile and proceeds at breathtaking speed" (Michael Coveney, Financial Times) and these themes are not confined to Italy, the play has more universal issues and could easily be set in England against the backdrop of the 1974 "Who Governs Britain?" general election and the collapse of the Heath government in the face of nationwide strikes, an energy crisis, rising unemployment and the three day week. Can't Pay? Won't Pay? like all Fo's plays is a didactic piece of situation theatre based around working class issues. Economic crisis, price increases, feminism, religion, the ineffectual nature of the police force as well as a general dissatisfaction with the state are highlighted by Fo's relentless use of farce, ridicule and slapstick comedy. The play predicted the spread of an incredulous phenomenon. Italy's economic crisis forced the redundancy of many factory workers, the huge increase in price of many services such as public transport, gas and electricity by up to 50% saw outrage and uproar, but it was the increase of supermarket prices that was the rationale for Can't Pay? Won't Pay! As Fo had predicted two weeks after the opening of the play, people took to paying what they considered to be a reasonable price and no more.
PICTURES:
CAST:
Kate Bone as Antonia
James Boston as The Inspector
Emma Christer as Margarita
Dave Pepper as Luigi
Rainer Wiseman as Giovanni
Synopsis:
Can't Pay? Won't Pay! is set in Milan during the 1970s-a period of political radicalization and frequent strike actions in Italy; but "the problems are desperately familiar...Fo-faced farce wears a broad smile and proceeds at breathtaking speed" (Michael Coveney, Financial Times) and these themes are not confined to Italy, the play has more universal issues and could easily be set in England against the backdrop of the 1974 "Who Governs Britain?" general election and the collapse of the Heath government in the face of nationwide strikes, an energy crisis, rising unemployment and the three day week. Can't Pay? Won't Pay? like all Fo's plays is a didactic piece of situation theatre based around working class issues. Economic crisis, price increases, feminism, religion, the ineffectual nature of the police force as well as a general dissatisfaction with the state are highlighted by Fo's relentless use of farce, ridicule and slapstick comedy. The play predicted the spread of an incredulous phenomenon. Italy's economic crisis forced the redundancy of many factory workers, the huge increase in price of many services such as public transport, gas and electricity by up to 50% saw outrage and uproar, but it was the increase of supermarket prices that was the rationale for Can't Pay? Won't Pay! As Fo had predicted two weeks after the opening of the play, people took to paying what they considered to be a reasonable price and no more.
PICTURES:
CAST:
Kate Bone as Antonia
James Boston as The Inspector
Emma Christer as Margarita
Dave Pepper as Luigi
Rainer Wiseman as Giovanni
Theatre visits for year 9 and 12
THEATRE SHOWS FOR YEARS 9 and 12
SHUNKIN
Synopsis:
Inspired by the work of one of the most important Japanese writers of the twentieth century, Jun'ichiro Tanizaki, Shun-kin tells the tale of devotion, passion and power, where beauty is unforgiving and love is blinding.Moving between the neon glow of Japan and the vanished world of Meiji, Shun-kin discovers the moments of light in a world of darkness. Emerging from traditional Japanese culture, this powerful performance shows us just how close beauty and violence can really be.
Reviews:
‘A multi-layered portrayal of the psychology of human relationships.’ Mainichi Shimbun, Japan ‘Extraordinary staging…a sensual theatrical world steeped in shadow.’ Asahi Shimbun, Japan
Cast: Directed by Simon McBurneyComposer Hidetaro HonjoSet Design Merle Hensel and Rumi MatsuiLighting Paul AndersonSound Gareth FryProjection Finn Ross for mesmerCostume Christina CunninghamPuppetry Blind Summit TheatrePerformed by Kaho Aso, Songha Cho, Eri Fukatsu, Hidetaro Honjo, Yoshi Oida, Yuko Miyamoto, Kentaro Mizuki, Yasuyo Mochizuki, Keitoku Takada, Ryoko Tateishi Based on the writings of Jun'ichiro TanizakiCo-produced by Complicite, Setagaya Public Theatre and barbicanbite09 Supported by The Daiwa Anglo-Japanese Foundation, Japan Foundation, Great Britain Sasakawa Foundation
Company:
Under the artistic direction of Simon McBurney, Complicite is one of the world’s leading theatre companies. Shun-kin is the second collaboration with the Setagaya Public Theatre, Tokyo. Performed by an entirely Japanese cast including film actress Eri Fukatsu, the production opened with a short sell-out run in Tokyo in February 2008. Complicite returns following the success of multi-award winning A Disapperaring Number (bite07 and bite08) and the critically acclaimed The Elephant Vanishes (bite03 and bite04).
Pics:
SHUNKIN
Synopsis:
Inspired by the work of one of the most important Japanese writers of the twentieth century, Jun'ichiro Tanizaki, Shun-kin tells the tale of devotion, passion and power, where beauty is unforgiving and love is blinding.Moving between the neon glow of Japan and the vanished world of Meiji, Shun-kin discovers the moments of light in a world of darkness. Emerging from traditional Japanese culture, this powerful performance shows us just how close beauty and violence can really be.
Reviews:
‘A multi-layered portrayal of the psychology of human relationships.’ Mainichi Shimbun, Japan ‘Extraordinary staging…a sensual theatrical world steeped in shadow.’ Asahi Shimbun, Japan
Cast: Directed by Simon McBurneyComposer Hidetaro HonjoSet Design Merle Hensel and Rumi MatsuiLighting Paul AndersonSound Gareth FryProjection Finn Ross for mesmerCostume Christina CunninghamPuppetry Blind Summit TheatrePerformed by Kaho Aso, Songha Cho, Eri Fukatsu, Hidetaro Honjo, Yoshi Oida, Yuko Miyamoto, Kentaro Mizuki, Yasuyo Mochizuki, Keitoku Takada, Ryoko Tateishi Based on the writings of Jun'ichiro TanizakiCo-produced by Complicite, Setagaya Public Theatre and barbicanbite09 Supported by The Daiwa Anglo-Japanese Foundation, Japan Foundation, Great Britain Sasakawa Foundation
Company:
Under the artistic direction of Simon McBurney, Complicite is one of the world’s leading theatre companies. Shun-kin is the second collaboration with the Setagaya Public Theatre, Tokyo. Performed by an entirely Japanese cast including film actress Eri Fukatsu, the production opened with a short sell-out run in Tokyo in February 2008. Complicite returns following the success of multi-award winning A Disapperaring Number (bite07 and bite08) and the critically acclaimed The Elephant Vanishes (bite03 and bite04).
Pics:
A VIEW
FROM A BRIDGE
Synopsis:
Acknowledged as one of the great classics of the twentieth century, Arthur Miller’s electrifying and deeply moving play A View From The Bridge proved to be a milestone in American theatrical history: it will be rediscovered in a new production starring Ken Stott, Mary Elizabeth Mastrantonio and Hayley Atwell, directed by Olivier Award-winning Lindsay Posner.Dockworker Eddie Carbone has made a good life for himself and his wife and niece in 1950’s Brooklyn. From an immigrant family himself, Eddie is happy to house and protect his wife’s Italian cousins who arrive illegally in pursuit of the ‘American Dream’. What Eddie doesn’t know is that this act of kindness will have a shattering effect on his whole life, and the lives of those he loves.Arthur Miller is arguably America’s finest playwright, with his other landmark works including The Crucible and Death of a Salesman. Lindsay Posner (Death and the Maiden, Fiddler on the Roof and Carousel) directs an all-star cast, with Ken Stott (Rebus, Messiah, God of Carnage) as Eddie, Mary Elizabeth Mastrantonio (Robin Hood: Prince of Thieves, The Perfect Storm) as Beatrice and Hayley Atwell (Brideshead Revisited, The Duchess) as Catherine.
Show Poster:
LORD OF THE FLIES
Synopsis:
All hell breaks loose when British schoolboys including Ralph, Piggy and Jack get stranded on a desert island in William Golding's Lord of the Flies. The battle for civilisation versus savagery is played out and the boys' attempt at self-rule ends in total disaster. This is perfect material for the violently choreographed piece of physical theatre by Pilot Theatre, a national touring theatre, based at York Theatre Royal.
It relies on eight adult actors, performing against the backdrop of a shiny plane-crash set. "It is the tail section and the fuselage of a crashed aeroplane. The tail section pivots, twists and turns 360 degrees. The aeroplane represents all areas and aspects of the island. They climb over it. They strip everything off it. They make their spears from the metal struts. They tie people up with the seat belts from the aeroplane," explains Pilot's artistic director, Marcus Romer.
His award-winning production kicks off its 10th-anniversary national tour this month in York, complete with a constant soundtrack, representing the spirit and the sounds of the island. "It begins with angelic and beautiful harmonies and becomes more discordant as the story progresses. It has sounds of the sea, animals, life on the island, drumming and banging."
Video images are projected on to the stage to set various island scenes. "We project the sea for Piggy's death. He is pushed off the cliff having asked for his stolen glasses back. There is rain and thunderstorm for Simon's murder. He is kicked and beaten to death with spears. It is projected in black and white. The absence of colour makes it quite stark," he says.
Romer, who is also a published playwright and adapts books for his Pilot Theatre productions, also directed Pilot's touring production of Roy Williams's play Sing Yer Heart Out for the Lads in 2006. "We are taking Lord of the Flies to Bermuda, the Isle of Man and Jersey," says Romer. "This is our island tour!"
URL AND EMBED FOR VIDEO
Embed:
Url: http://uk.youtube.com/watch?v=OeDY2JSl0Fk
Reviews:
“William Golding meets Quentin Tarantino" -Financial Times
"Brilliantly evoked...see it and weep" - Time Out
"Terrifying and exhilarating production...heart stopping" -The Guardian
"Visceral production...thrillingly choreographed" -The Independent
Cast:
Book by: William GoldingCompany: Pilot Theatre (in association with York Theatre Royal)Adapted by: Nigel WilliamsDirector: Marcus RomerDesign: Ali AllenDesign: Marise RoseMusic: Sandy NuttgensPerformer: Dominic DoughtyPerformer: Davood GhadamiPerformer: Tony HasnathPerformer: Mark KnightleyPerformer: Lachlan McCallPerformer: Elliot QuinnPerformer: Ben SewellPerformer: Michael Sewell
Manderley production. The function of the lighting technician
A lighting technician I somebody who programs the lighting to the directors wishes
The biggest play he did was phantom of the opera
And his favourite show was time
He has worked with allot of people and types of lighting boards
He did not want to become a lighting technician until he was 18 the studied near a theatre he got to know the people there and they gave him a part time job
He trained hear and when it became a theatre he allayed for a job here
When he came here he was new but he slowly became a common name here
Are lighting technician
By Alexander Sternberg
The biggest play he did was phantom of the opera
And his favourite show was time
He has worked with allot of people and types of lighting boards
He did not want to become a lighting technician until he was 18 the studied near a theatre he got to know the people there and they gave him a part time job
He trained hear and when it became a theatre he allayed for a job here
When he came here he was new but he slowly became a common name here
Are lighting technician
By Alexander Sternberg
Manderley production directors interview
Q&A for Debby
Q what is the story?
A now, the story of is a thriller about a man who gets married to a young, innocent girl but this is his second marriage, his first wife died under suspicious circumstances, did he murder her?
Q what do you hope to achieve with this play?
A I want it to be a mix of thriller and comedy and very entertaining.
Q did you chose this play, if so why?
A yes I did, I adapted the book and wrote the script.
I chose it because it is a good story and one of my favourites.
Q who are the people in your cast?
A they are students from years 7 to 11 and we have a professional actor called Richard eckels playing the lead, maxim.
Q what style are you using for this play?
A it’s a mix of physical theatre and realistic acting.
Q how is it going so far?
A it’s going very well, the actors are brilliant and we are having fun.
Q what costumes and props are you using?
A our costumes have all been collected by Jeanette in a 1930 style.
Q is there anything else you would like to say about this play?
A yes, I hope all of the school will come to see it; all the actors have worked hard.
Q what is the story?
A now, the story of is a thriller about a man who gets married to a young, innocent girl but this is his second marriage, his first wife died under suspicious circumstances, did he murder her?
Q what do you hope to achieve with this play?
A I want it to be a mix of thriller and comedy and very entertaining.
Q did you chose this play, if so why?
A yes I did, I adapted the book and wrote the script.
I chose it because it is a good story and one of my favourites.
Q who are the people in your cast?
A they are students from years 7 to 11 and we have a professional actor called Richard eckels playing the lead, maxim.
Q what style are you using for this play?
A it’s a mix of physical theatre and realistic acting.
Q how is it going so far?
A it’s going very well, the actors are brilliant and we are having fun.
Q what costumes and props are you using?
A our costumes have all been collected by Jeanette in a 1930 style.
Q is there anything else you would like to say about this play?
A yes, I hope all of the school will come to see it; all the actors have worked hard.
Plautus
http://www.san.beck.org/EC26-Cicero.html
Plautus is considered one of Dario Fo's influences and is an influence on the structure of modern comedy. Have a look at this link to help understand the plot and structure of his comedies
Plautus is considered one of Dario Fo's influences and is an influence on the structure of modern comedy. Have a look at this link to help understand the plot and structure of his comedies
Tuesday, 6 January 2009
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