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Journal articles on the topic 'Actors of royal company'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Cave, Richard Allen. "Feldenkrais and actors: working with the Royal Shakespeare Company." Theatre, Dance and Performance Training 6, no. 2 (2015): 174–86. http://dx.doi.org/10.1080/19443927.2015.1027454.

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2

Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (2020): 56. http://dx.doi.org/10.3390/arts9020056.

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Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in no

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3

Bond, Edward. "Modern and Postmodern Theatres." New Theatre Quarterly 13, no. 50 (1997): 99–105. http://dx.doi.org/10.1017/s0266464x00010988.

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The work of Edward Bond has featured regularly both in NTQ and the earlier Theatre Quarterly, from the interview and casebook published in TQ5 (1972) following the production of his version of Lear to Ian Stuart's study in NTQ39 (1994) of the concept of ‘Theatre Events’, as developed during Bond's workshops with Royal Shakespeare Company actors in 1992. A few months before his RSC production of his new play In the Company of Men last autumn, Edward Bond talked with Ulrich Köppen, a doctoral candidate at the University of Mainz, about the relevance of Theatre Events to the debate over modernism

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4

Hall, Peter. "Chekhov, Shakespeare, the Ensemble and the Company." New Theatre Quarterly 11, no. 43 (1995): 203–10. http://dx.doi.org/10.1017/s0266464x00009088.

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The visit to Britain in the spring of 1994 by the St Petersburg Maly Drama Theatre – described by Peter Brook as ‘the finest theatre ensemble in Europe’ – was warmly received by audiences and critics alike. Yet in Britain the idea of this kind of ‘permanent’ theatre company, so dear to earlier generations of actors and directors, seems not to have survived the climate of the 'eighties, and there is a sense that such remaining permanent companies as the Moscow Art Theatre and the Berliner Ensemble are dinosaurs from a more collectivist past. In an interview with Izvestiya, however, the Maly com

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5

Brown, John Russell. "Shakespeare, the Natyasastra, and Discovering Rasa for Performance." New Theatre Quarterly 21, no. 1 (2005): 3–12. http://dx.doi.org/10.1017/s0266464x04000284.

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Recognizing analogies between the assumptions about theatricality found in the classic Sanskrit treatise on acting, the Natyasastra, and those of the Elizabethan theatre, John Russell Brown suggests that the concept of rasa as the determining emotion of a performance is similar to that of the Elizabethan ‘humour’, or prevailing passion, as defined by Ben Jonson. Here he describes his work exploring what happens when actors draw on their own life experiences to imagine and assume the basic rasa of the character they are going to present, based on experiments in London with New Fortune Theatre;

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6

Rissik, Andrew. "Playing Shakespeare False: a Critique of the ‘Stratford Voice’." New Theatre Quarterly 1, no. 3 (1985): 227–30. http://dx.doi.org/10.1017/s0266464x00001615.

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Acting style is notoriously difficult to recapture, and our knowledge of how Burbage or Betterton or even Irving performed is scant indeed. This is understandable: less so is the reluctance of contemporary critics to get to grips with the description and evaluation of present-day styles of acting. In part in response to the ‘masterclasses’ given recently on London Weekend Television by John Barton with actors from the Royal Shakespeare Company. Andrew Rissik argues that the present ‘Stratford voice’, in contrast to that of the 'sixties and early 'seventies, does not serve Shakespeare well, and

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7

Marowitz, Charles. "Working with Havel." New Theatre Quarterly 30, no. 3 (2014): 208–10. http://dx.doi.org/10.1017/s0266464x14000426.

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In the spring of 2004, I was invited to Prague to direct Vaclav Havel's Temptation at the National Theatre in the Czech Republic. I had directed in a number of European cities but there was something of a frisson about going to Prague and working with the ex-president of the Czech Republic, whom I remembered most vividly as the Great Dissenter against Soviet rule in a city I had often visualized but never actually seen.On the day Vaclav Havel was scheduled to attend the first-act run-through of his play there was a palpable sense of hysteria in the air. The actors, all highly experienced membe

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8

Dutta Roy, Vineeta. "For the sustainability of the forests, the tigers and the tribals: Royal Bank of Scotland in the Kanha-Pench corridor, India." CASE Journal 17, no. 3 (2021): 374–405. http://dx.doi.org/10.1108/tcj-10-2019-0093.

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Theoretical basis Poverty, business strategy and sustainable development. International development planning and poverty alleviation strategies have moved beyond centralised, top-down approaches and now emphasise decentralised, community-based approaches that incorporate actors from the community, government, non-governmental agencies and business. Collective action by Bottom of the Pyramid residents gives them greater control in self-managing environmental commons and addressing the problems of environmental degradation. Co-creation and engaging in deep dialogue with stakeholders offer signif

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9

Stuart, Ian. "A Political Language for the Theatre: Edward Bond's RSC Workshops, 1992." New Theatre Quarterly 10, no. 39 (1994): 207–16. http://dx.doi.org/10.1017/s0266464x00000518.

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Disillusioned by what he sees as the inadequate state of the British theatre, Edward Bond has refused to have some of his more recent plays produced in this country, although they have been seen in productions on the Continent. This year's Avignon Festival will thus be focusing on his work, and later in 1994 the Berliner Ensemble will be staging Olly's Prison. In 1992, however, Bond worked – for the first time since the late 1980s – with members of the Royal Shakespeare Company, resuming in workshop conditions his attempt to develop a distinctive acting style for his work. Commenting on the pr

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10

Flannery, Kristie Patricia. "Battlefield Diplomacy and Empire-building in the Indo-Pacific World during the Seven Years’ War." Itinerario 40, no. 3 (2016): 467–88. http://dx.doi.org/10.1017/s0165115316000668.

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In 1762, at the height of the Seven Years’ War, Britain’s Royal Navy and East India Company mobilised a motley army of Europeans, South Asians, and Africans and invaded Manila, the capital of Spain’s Asian Empire. The Black Legend blinded the British to the complexities of the real balance of power in the Philippines. The Spanish colonial government quickly raised militias of Spaniards, Mexicans, Chinese mestizos, and indigenous Filipinos who ultimately defeated the British. The loyalties of the soldiers of many nations who converged in Manila could not be taken for granted. This article exami

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11

Walling, Michael. "Achilles Comes to Palestine: Border Crossings’ This Flesh is Mine." New Theatre Quarterly 31, no. 3 (2015): 252–62. http://dx.doi.org/10.1017/s0266464x15000470.

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In April 2014, Michael Walling, Artistic Director of Border Crossings, worked in Palestine with a company of actors drawn partly from the UK and partly from the Ramallah-based Ashtar Theatre on a production of This Flesh is Mine, by Brian Woolland, Using the Iliad as a starting point, the play was set partly in a classical and partly in a modern world. In this article Michael Walling discusses how the production engaged with the contemporary Palestinian situation in terms of space, voice, and the body. He describes how the rehearsal process in Ramallah informed staging and textual decisions, a

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12

Williams, David. "‘A Place Marked by Life’: Brook at the Bouffes du Nord." New Theatre Quarterly 1, no. 1 (1985): 39–74. http://dx.doi.org/10.1017/s0266464x0000141x.

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After his experimental work with the Royal Shakespeare Company, which bore fruit in the production of Marat/Sade in 1964 and culminated in the controversial Vietnam play US in 1966, Peter Brook returned to the classical repertoire in which he had made his name as ‘enfant terrible’ of British theatre, with Seneca's Oedipus for the National Theatre in 1968, and, two years later, A Midsummer Night's Dream for the RSC. But the very success of ‘Brook's Dream’ – the way in which its transformation into an ‘event’ required actors ‘to do their duty rather than what came from life’ – heightened Brook's

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13

Jarvis, Andrew. "Telling the Story: Shakespeare's Histories in Performance." New Theatre Quarterly 6, no. 23 (1990): 207–14. http://dx.doi.org/10.1017/s0266464x00004504.

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The English Shakespeare Company was founded in 1986 by Michael Bogdanov and Michael Pennington with a commitment to take large-scale productions to regional venues. Henry IV, Parts One and Two and Henry V opened at the Plymouth Theatre Royal in November 1986 under the title The Henrys: they were then staged at the Old Vic and toured extensively. In December 1987 Richard II, with a two-part adaptation of the three parts of Henry VI (House of Lancaster and House of York) and Richard III, were added to the previous trilogy to create a complete cycle of history plays – The Wars of the Roses. The c

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14

Iyengar, Sujata, and Lesley Feracho. "Hamlet (RSC, 2016) and representations of diasporic blackness." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 147–60. http://dx.doi.org/10.1177/0184767819837738.

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In 2016 Paapa Essiedu, a British actor of Ghanaian ancestry, starred as Hamlet in Simon Godwin’s lauded Royal Shakespeare Company (RSC) production, set in a post-colonial African state whose non-specificity nonetheless irritated some reviewers. We contend, however, that the production mixed multiple referents of blackness (Eastern African, West African, Caribbean, South African, 1970s African American) in order deliberately to create an imaginary post-colonial domain where these different kinds of diasporic blackness engaged with each other through the figure of Hamlet and his art. We therefor

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15

Huertas Martín, Víctor. "The Tempest de William Shakespeare, dirigida por Gregory Doran (Royal Shakespeare Company, 2016-2017). Dialéctica entre tecnología virtual y corporalidad." Diablotexto Digital 3 (January 18, 2019): 43. http://dx.doi.org/10.7203/diablotexto.3.13015.

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Este artículo estudia la dialéctica que se da entre los cuerpos de los actores y la tecnología virtual en la producción de The Tempest de Gregory Doran (2016-2017). Dicha dialéctica será observada desde una óptica marxista – principalmente a partir del trabajo de Silvia Federici – y desde la crítica textual y escénica del texto de Shakespeare. Aspectos como la tecnología y el cuerpo serán de importancia para mi trabajo. Particularmente me centraré en el cuerpo como materia sometida al castigo corporal y a su instrumentalización en la película. También trabajaré a partir de la teorización de Ga

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16

Jones, Nesta. "Looking at Lear: the Voice Work and Direction of Cicely Berry." New Theatre Quarterly 35, no. 02 (2019): 135–49. http://dx.doi.org/10.1017/s0266464x19000058.

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Since her death on 15 October 2018 at the age of 92 many tributes have been paid to Cicely Berry, and no doubt more will follow. Her legacy is assured, however, through the many actors, directors, and young people she encouraged, inspired, and transformed during her long and illustrious career as Director of Voice (and subsequently Advis ory Director) of the Royal Shakespeare Company, and other organizations where she shared her practice internationally, often with the assistance of translators in order to work in the language of the host communities. Moreover, her words and a myriad of exampl

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17

Marowitz, Charles. "Cue for Passion: on the Dynamics of Shakespearean Acting." New Theatre Quarterly 18, no. 1 (2002): 3–9. http://dx.doi.org/10.1017/s0266464x02000106.

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Critics and scholars continue to delve assiduously into the literary nuances of Shakespeare's plays, and increasingly the Theatre Studies community pursues the task of documenting performance. But the dynamics of Shakespearean acting continue to be fogged by ideologies and assumptions dating back to the debate between Alfred Harbage and Bertram Joseph in the early post-war period, and to even earlier disputes between inspirational and intellectual interpretations. Here, director and critic Charles Marowitz looks retrospectively at the problem by exploring the living constituents of the actor's

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18

Bradley, Curtis A. "Attorney General Bradford’s Opinion and the Alien Tort Statute." American Journal of International Law 106, no. 3 (2012): 509–30. http://dx.doi.org/10.5305/amerjintelaw.106.3.0509.

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In debates over the scope of the Alien Tort Statute (ATS), one historical document has played an especially prominent role. That document is a short opinion by U.S. Attorney General William Bradford, issued in the summer of 1795, concerning the involvement of U.S. citizens in an attack by a French fleet on a British colony in Sierra Leone. In the opinion, Bradford concluded that “[s]o far ... as the transactions complained of originated or took place in a foreign country, they are not within the cognizance of our courts; nor can the actors be legally prosecuted or punished for them by the Unit

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19

Lira de Sousa, Ramayana. "“There would this monster make a man”: Colonial power in the 1993 RSC production of 'The Tempest'." Gragoatá 23, no. 47 (2018): 780. http://dx.doi.org/10.22409/gragoata.2018n47a1210.

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Taking on assumptions about oppression, identity and representation as they are developed in contemporary postcolonial theory, this study proposes the analysis of the 1993 theatrical production of William Shakespeare's The Tempest by The Royal Shakespeare Company (RSC). It aims to discuss the role of Caliban's monstrosity in the production and how it pertains to issues such as power relations and spectacle. The main benefit of doing an analysis of a performance of a Shakespearean text seems to be the possibility of seeing the play's meaning as contingent, as a result of a series of elements (a

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20

Lira de Sousa, Ramayana. "“There would this monster make a man”: Colonial power in the 1993 RSC production of 'The Tempest'." Gragoatá 23, no. 47 (2018): 780–802. http://dx.doi.org/10.22409/gragoata.v23i47.33603.

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Taking on assumptions about oppression, identity and representation as they are developed in contemporary postcolonial theory, this study proposes the analysis of the 1993 theatrical production of William Shakespeare's The Tempest by The Royal Shakespeare Company (RSC). It aims to discuss the role of Caliban's monstrosity in the production and how it pertains to issues such as power relations and spectacle. The main benefit of doing an analysis of a performance of a Shakespearean text seems to be the possibility of seeing the play's meaning as contingent, as a result of a series of elements (a

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21

Mulcahy, Sean Alexander, and Sean Mulcahy. "Acting Law | Law Acting: A Conversation with Dr Felix Nobis and Professor Gary Watt." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (2017): 189–200. http://dx.doi.org/10.31273/eirj.v4i2.158.

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Dr Felix Nobis is a senior lecturer with the Centre for Theatre and Performance at Monash University. He has worked as a professional actor for many years. He previously played an assistant to the Crown Prosecutor in the Australian television series, Janus, which was set in Melbourne, Victoria and based on the true story of a criminal family allegedly responsible for police shootings. He also played an advisor to a medical defence firm in the Australian television series MDA. He is a writer and professional storyteller. He has toured his one-person adaptation of Beowulf (2004) and one-person s

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22

Vos, Jozef De. "De"Royal Shakespeare Company"." Documenta 6, no. 2 (2019): 90–100. http://dx.doi.org/10.21825/doc.v6i2.10984.

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23

Koledin, Alicia. "Roundhouse—Royal Shakespeare Company." Journal of the Acoustical Society of America 115, no. 5 (2004): 2480. http://dx.doi.org/10.1121/1.4782684.

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24

Boast, Robin. "A Small Company of Actors." Journal of Material Culture 2, no. 2 (1997): 173–98. http://dx.doi.org/10.1177/135918359700200202.

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25

De Vos, Jozef. "Royal Shakespeare Company herontdekt vergeten repertoire." Documenta 20, no. 3 (2019): 259–63. http://dx.doi.org/10.21825/doc.v20i3.10237.

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26

Giegold, Carl. "Barbican Centre, Royal Shakespeare Company Theatre." Journal of the Acoustical Society of America 115, no. 5 (2004): 2479. http://dx.doi.org/10.1121/1.4782618.

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27

Keenan, Siobhan. "The Royal Shakespeare Company at 50." Shakespeare 8, no. 2 (2012): 195–201. http://dx.doi.org/10.1080/17450918.2012.679301.

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28

Pietros, Stephanie. "King Lear by Royal Shakespeare Company." Shakespeare Bulletin 36, no. 4 (2018): 719–22. http://dx.doi.org/10.1353/shb.2018.0070.

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29

Aebischer, Pascale. "Tamburlaine by The Royal Shakespeare Company." Shakespeare Bulletin 37, no. 1 (2019): 115–19. http://dx.doi.org/10.1353/shb.2019.0006.

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30

Rogers, Jami. "Love’s Labour’s Lost by Royal Shakespeare Company, and: Much Ado About Nothing by Royal Shakespeare Company." Shakespeare Bulletin 33, no. 3 (2015): 521–27. http://dx.doi.org/10.1353/shb.2015.0044.

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31

Knapp, Michael C., and Carol A. Knapp. "Europe's Enron: Royal Ahold, N.V." Issues in Accounting Education 22, no. 4 (2007): 641–60. http://dx.doi.org/10.2308/iace.2007.22.4.641.

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Royal Ahold, N.V., is a large multinational company based in The Netherlands that was founded in 1887 by Albert Heijn. Three generations of the Heijn family oversaw the company's retail grocery business. In 1989, the company hired a professional management team. The new management team expanded Royal Ahold's operations by purchasing grocery chains around the globe, resulting in the company becoming the third largest food retailer in the world. In 2000, the company diversified into the wholesaling segment of the huge food industry when it purchased U.S. Foodservice, a large food wholesaler base

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32

한상언. "The actors' movement of the Liberation Period and Chosun Film Actors' Company." Film Studies ll, no. 43 (2010): 405–28. http://dx.doi.org/10.17947/kfa..43.201003.013.

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33

Rogers, Megan. "Actors of Dionysus." Journal of Classics Teaching 20, no. 40 (2019): 35–36. http://dx.doi.org/10.1017/s205863101900031x.

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Actors of Dionysus (aod) is a charity and theatre company with 26 years of experience of creating radical adaptations of Ancient Greek drama and new writing productions inspired by myth. Since 1993 we have toured over 50 productions nationally and internationally, performed to over 750,000 people and become the UK's leading interpreters in this field.

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34

Wade, Andrew. "Voice work at the Royal Shakespeare Company." Actes des congrès de la Société française Shakespeare, no. 17 (November 1, 1999): 209–28. http://dx.doi.org/10.4000/shakespeare.414.

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35

Keirn, Tim. "Daniel Defoe and the Royal African Company." Historical Research 61, no. 145 (1988): 243–47. http://dx.doi.org/10.1111/j.1468-2281.1988.tb01063.x.

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36

Price, Eoin. "The Shoemaker’s Holiday by Royal Shakespeare Company." Shakespeare Bulletin 33, no. 3 (2015): 517–21. http://dx.doi.org/10.1353/shb.2015.0042.

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37

Bourus, Terri. "Arden of Faversham by Royal Shakespeare Company." Shakespeare Bulletin 33, no. 4 (2015): 693–98. http://dx.doi.org/10.1353/shb.2015.0062.

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38

Chariri, Anis. "Ethical Culture and Financial Reporting: Understanding Financial Reporting Practice within Javanese Perspective." Issues In Social And Environmental Accounting 3, no. 1 (2009): 45. http://dx.doi.org/10.22164/isea.v3i1.37.

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This study is a case study conducted in an Indonesian insurance company. The aim of the study is to understand the dynamics of financial reporting in the company. Ontologically, this study is built on a belief that financial reporting practice is a socially constructed reality. As a socially constructed reality, such a practice involves an interaction among social actors, and between organisational actors and the institutional and cultural environment in which the company operates. The main research question of this study is how organisational culture shapes the company on the construction of

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39

Sharrock, Elizabeth. "Screening the Royal Shakespeare Company: A Critical History." Shakespeare 16, no. 1 (2020): 114–15. http://dx.doi.org/10.1080/17450918.2020.1712467.

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40

Godwin, Laura Grace. "Merchant and Jew at the Royal Shakespeare Company." Shakespeare Bulletin 34, no. 3 (2016): 511–20. http://dx.doi.org/10.1353/shb.2016.0043.

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41

Stephenson, Joseph F. "Timon of Athens by the Royal Shakespeare Company." Shakespeare Bulletin 37, no. 3 (2019): 451–54. http://dx.doi.org/10.1353/shb.2019.0053.

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42

Rogers, Jami. "Antony and Cleopatra performed by the Royal Shakespeare Company (Swan), and: Richard II performed by the Royal Shakespeare Company (RST), and: Thomas of Woodstock performed by the Royal Shakespeare Company (Barbican Theatre)." Shakespeare Bulletin 32, no. 2 (2014): 310–19. http://dx.doi.org/10.1353/shb.2014.0020.

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43

Prashar, Sanjeev, Harvinder Singh, Kranthi Kiran Gude, and Saif Uddin Shaik. "Royal Enfield motorcycles: reviving the brand." Emerald Emerging Markets Case Studies 3, no. 8 (2013): 1–12. http://dx.doi.org/10.1108/eemcs-06-2013-0103.

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Subject area Marketing. Study level/applicability The case is intended for students pursuing post-graduate program in management and studying courses like marketing, brand management and product management. Case overview This case discusses marketing decisions taken by Royal Enfield Motors Ltd for its popular motorcycle brand Enfield. Starting from the genesis of the brand and the company, this case deliberates the stage when it faced the dilemma of whether to shutdown, sell-off or revive the business. The situation was the outcome of unfavourable environmental forces and inappropriate strateg

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44

Backscheider, Paula R. "Behind City Walls: Restoration Actors in the Drapers' Company." Theatre Survey 45, no. 1 (2004): 75–87. http://dx.doi.org/10.1017/s0040557404000067.

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In 1934, Louis B. Wright wrote, “All the world knows since the publication of studies by Professors Graves, Rollins, and Hotson that . . . [the drama's] light never went out completely.” Yet in a 2001 reference book, a contributor writes, “After an eighteen year hiatus. . . .” No wonder that Dale Randall could legitimately write in 1995, “We are asked to believe that little or nothing happened in English drama for the next eighteen years” beginning in 1642. His Winter Fruit is an important survey of dramatic activity during the Interregnum, and scholars continue to document the varieties of th

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45

CAPP, BERNARD. "A LOST ELIZABETHAN ACTORS' COMPANY: SIR WILLIAM HOLLERS'S PLAYERS." Notes and Queries 44, no. 1 (1997): 95–96. http://dx.doi.org/10.1093/nq/44-1-95.

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46

CAPP, BERNARD. "A LOST ELIZABETHAN ACTORS' COMPANY: SIR WILLIAM HOLLERS'S PLAYERS." Notes and Queries 44, no. 1 (1997): 95–96. http://dx.doi.org/10.1093/nq/44.1.95.

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47

Gusev, V. V. "Russian Company Towns: Actors Influence and Social Development Trends." Izvestia of Saratov University. New Series. Series: Sociology. Politology 14, no. 2 (2014): 37–41. http://dx.doi.org/10.18500/1818-9601-2014-14-2-37-41.

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48

GONZALEZ, ANITA. "Maritime Migrations: Stewards of the African Grove." Theatre Research International 44, no. 1 (2019): 64–70. http://dx.doi.org/10.1017/s0307883318000962.

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This essay discusses how maritime migrations contribute to movements of ideas across transnational ethnic communities. It focuses on actors from the African Grove, a New York City-based African American theatre company. Actors in this company worked as stewards on transatlantic packet ships where the architecture of the ship supported intercultural exchanges.

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49

Kapiyangoda, Kumudu, and Tharusha Gooneratne. "Institutions, agency, culture and control: a case study of a multinational operating company." Journal of Accounting & Organizational Change 14, no. 4 (2018): 402–28. http://dx.doi.org/10.1108/jaoc-07-2017-0056.

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Purpose This paper aims to explore how management control systems (MCS) of an operating company (Delta Lanka) of a multinational corporation (MNC) is shaped through the interplay between external institutional influences via global prescriptions stemming from the parent company culture and localisation needs as suited to cultural context of the operating company through the agency of practice level actors. Design/methodology/approach Theoretically, the paper draws upon institutional theory, more specifically the notions of external institutions and agency of practice level actors, while method

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50

Mitchell, Matthew David. "Three English Cloth Towns and the Royal African Company." Journal of The Historical Society 13, no. 4 (2013): 421–47. http://dx.doi.org/10.1111/jhis.12027.

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