Academic literature on the topic 'Old Tote Theatre Company'
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Journal articles on the topic "Old Tote Theatre Company"
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Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (April 30, 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 non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.
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Jackson, Adrian. "Augusto Boal – a Theatre in Life." New Theatre Quarterly 25, no. 4 (November 2009): 306–9. http://dx.doi.org/10.1017/s0266464x09000591.
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Augusto Boal died on 2 May 2009 at the age of seventy-eight. The following tribute is by Adrian Jackson, who knew Boal not only as translator into English of five of his books and collaborator on many of his workshops, but as a leading practitioner deploying Boal's techniques, notably as founder in 1991 and Artistic Director of Cardboard Citizens, the UK's only homeless people's professional theatre company, for whom he has directed more than twenty productions, including two in association with the Royal Shakespeare Company – Pericles, played in a disused warehouse off the Old Kent Road, and Timon of Athens, which toured Stratford and the Belfast Festival. The company's most recent production was Mincemeat, a Second World War epic based on the story of the Man Who Never Was.
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Holdbrook-Smith, Kobna. "What is Black Theatre? The African-American Season at the Tricycle Theatre." New Theatre Quarterly 23, no. 3 (August 2007): 241–52. http://dx.doi.org/10.1017/s0266464x07000140.
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Kobna Holdbrook-Smith was a member of the repertory company formed by artistic director Nicolas Kent for the 2005–2006 African-American season at the Tricycle Theatre in north London. That company also included Jenny Jules, Joseph Marcell, Lucian Msamati, Carmen Munroe, and Nathan Osgood. In Walk Hard – Talk Loud by Abram Hill, a play originally produced in 1944 and set in New York in the late 1930s, Holdbrook-Smith played a young boxer who faces racism. In Lynn Nottage's contemporary satire Fabulation, he took on dual roles – the heroine's husband who absconds with her wealth, and the gentle ex-junkie who offers her love. And in August Wilson's Gem of the Ocean, set in Pittsburgh in 1904, his Citizen Barlow seeks purification from the 285-year-old spiritual adviser Aunt Ester and is taken on a symbolic rite of passage. The Ghanaian-born Holdbrook-Smith also appeared at the Tricycle in 2004–2005 in Mustapha Matura's Playboy of the West Indies. Terry Stoller, who teaches at Baruch College in New York City and is working on a book project about the Tricycle Theatre, spoke with Holdbrook-Smith in June 2006 in Covent Garden, London.
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Tyszka, Juliusz. "‘An Old Man Emanating Kindness’: Dario Fo at ISTA, 1996." New Theatre Quarterly 33, no. 2 (April 12, 2017): 179–87. http://dx.doi.org/10.1017/s0266464x17000082.
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In 1996 the Polish theatre scholar Juliusz Tyszka was present at the gathering of the International School of Theatre Anthropology (ISTA) in Copenhagen. Here, Dario Fo – in company with his wife and theatrical partner Franca Rame, also a contributor – was among the few invited to participate in both sessions of the conference: ‘Performers’ Bios: Whispering Winds of Theatre and Dance’ and ‘Theatre in a Multicultural Society’. Though already seventy years old and still in recovery from a recent stroke, Fo was incapable of confining himself to a conventional lecture, but (against his doctor's advice) combined his talk with performing the points he was making, whether imitating the curves of a voluptuous girl or enacting a speech in his universal ‘language’ of ‘gramelot’. He was to live on for another twenty years before his death at the age of ninety on 13 October 2016, outliving Franca Rame by just three years. Juliusz Tyszka, an advisory editor of NTQ and a regular contributor to the journal, is head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.
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Kershaw, Baz. "Building an Unstable Pyramid: the Fragmentation of Alternative Theatre." New Theatre Quarterly 9, no. 36 (November 1993): 341–56. http://dx.doi.org/10.1017/s0266464x00008241.
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In his earlier article, ‘Poaching in Thatcherland: a Case of Radical Community Theatre’, (NTQ34, May 1993), Baz Kershaw explored the work of the regional touring group EMMA during the 1970s, looking in particular at the quality of ‘performative contradiction’ which enabled it, for example, to make a subversive political statement within the ostensibly safe ambience of a play steeped in rural nostalgia. Here, he explores other paradoxes of that era of burgeoning alternative and community theatre activity in the years before Thatcher, assessing the role and the ‘hidden agenda’ of the funding bodies, and analyzing and contrasting the working methods, aims, and resources of two of their very different clients – the ‘national’ fringe company Joint Stock, and the small-scale ‘reminiscence theatre’ group, Fair Old Times. Although both groups were engaged in the ostensibly radical and oppositional theatre practice which eventually led to their closures, there was, notes Kershaw, an increasing tendency by the funding bodies to judge the work of the latter by the more amply endowed standards of the former. Baz Kershaw, who lectures in Theatre Studies at Lancaster University, wrote for the original Theatre Quarterly on the work of Fair Old Times's ‘parent’ company, Medium Fair (TQ30, 1978), and has put the present studies into a broader context in his most recent book, The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992). He is co-author, with Tony Coult, of Engineers of the Imagination (Methuen, 1983), a study of Welfare State, and has also contributed to Performance and Theatre Papers.
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Brown, John Russell. "Research in the Service of Theatre: the Example of Shakespeare Studies." Theatre Research International 18, no. 1 (1993): 25–35. http://dx.doi.org/10.1017/s0307883300017557.
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Masterpieces of theatre are tantalizingly inaccessible, except in print. Before we can see or hear the great plays of past ages, a theatre company has to learn how to produce them in a very different world from that in which they were written. Directors, designers, and actors who are available today are very different from the people first responsible for staging the plays. The buildings and equipment of newly-built theatres make their own distinct and irresistible contributions to any production. Before old texts can be staged problems of meaning, characterization, convention, and stagecraft have to be tackled. How can classics become fully and engagingly alive under such changed conditions? Any responsible theatre should consider establishing its own laboratory in which to conduct the necessary research.
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Micheli, Linda McJ. "Margaret Webster's Henry VIII: The Survival of ‘Scenic Shakespeare’ in America." Theatre Research International 11, no. 3 (1986): 213–22. http://dx.doi.org/10.1017/s0307883300012359.
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On 6 November 1946, in New York City, three enterprising women of the theatre – Margaret Webster, Cheryl Crawford, and Eva La Gallienne – launched a noble experiment with a lavish production of Shakespeare's Henry VIII. Their goal was to found a national repertory company, modelled on the European national theatres, to be a home for the classics and a training ground for a new breed of classically trained American actors – ‘an American Old Vic’. Webster and her partners had been trained in such a tradition, and their dream of an American national theatre had been given additional impetus by the Old Vic's successful visit to New York in 1945. Despite the good wishes of the theatrical community, an able band of established actors (such as Walter Hampden, Victor Jory, and the founders themselves), and generally sympathetic critical notices, the fledgling American Repertory Theatre (ART) foundered financially after one season, and the dream was abandoned (though it has recently been revived by Peter Sellars and the Kennedy Center in Washington, D.C.).
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Budden, Julian. "The genesis and literary source of Giacomo Puccini's first opera." Cambridge Opera Journal 1, no. 1 (March 1989): 79–85. http://dx.doi.org/10.1017/s0954586700002779.
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All Puccini's biographers tell the story of how the eighteen-year-old composer, in the company of two friends, walked the nineteen miles from Lucca to Pisa to hear Verdi's latest opera, Aida; and how the impact of that opera – the first that he had ever seen performed – was such that he determined from that moment on to make a career as a composer for the theatre.
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Woodruff, Graham. "‘Nice Girls’: the Vic Gives a Voice to Women of the Working Class." New Theatre Quarterly 11, no. 42 (May 1995): 109–27. http://dx.doi.org/10.1017/s0266464x00001135.
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Since its opening in 1961, the Victoria Theatre in Stoke-on-Trent has arguably been England's most adventurous and inventive repertory theatre, distinguished by the number and range of new plays it has produced – and particularly by the series of local documentaries which has set out to explore and reflect the life of the local community. The first issue ofTheatre Quarterly(1971) covered the early years of the old Victoria Theatre, and included an article by the director, Peter Cheeseman, on the company policy and production style of what was then Britain's only permanent theatre in the round. In addition, a ‘Production Casebook’ followed the creative processes and the techniques involved in rehearsals of one of the early Vic documentaries, TheStaffordshire Rebels. Here, Graham Woodruff looks at developments in the later Vic documentaries and, in the light of current discourses on popular theatre, history, and class politics, examines the implications of a regional theatre giving voice to ‘women of the working class’ in the latest Vic documentary,Nice Girls. Graham Woodruff, who has been Head of Drama at the University of Birmingham and for sixteen years worked for Telford Community Arts, wrote in NTQ28 (1989) on the politics of community plays, and is currently undertaking research on the ways in which the contemporary theatre gives expression to workingclass voices and interests.
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Jarvis, Andrew. "Telling the Story: Shakespeare's Histories in Performance." New Theatre Quarterly 6, no. 23 (August 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 cycle was toured in England and abroad before playing at the Old Vic in the spring of 1989. It has since been filmed for television by Portman Productions. The only comparable treatment of the histories in the theatre took place at Stratford in 1964. when Peter Hall and John Barton staged seven plays as a sequence spanning English history from the reign of Richard II to the downfall of Richard III. Andrew Jarvis has been with the English Shakespeare Company since 1986 when he played Gadshill, Douglas, Harcourt, and the Dauphin. He has since played Exton, Hotspur, and Richard III. In 1988 he won the Manchester Evening News Award for Best Actor in a Visiting Production for his portrayal of Richard III. Prior to joining the ESC he had played many roles for the Royal Shakespeare Company. Here, he is interviewed by Stephen Phillips, lecturer in drama at the College of St Mark and St John, Plymouth, who is currently preparing a study of Shakespeare's history cycles in performance in the twentieth century.
Dissertations / Theses on the topic "Old Tote Theatre Company"
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Yu-Chieh, Chang, and 張郁婕. "「New melody from the Chinese old songs」─ Innovative interpretation of the pop music from 1930~1960 in contemporary musical A Case Study of the song performed by actress, Yu-WeiBai in "Shanghai Love Songs" by Godot Theatre Company." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/t9hqp7.
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碩士國立臺灣師範大學
表演藝術研究所
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This study specifically describes the analysis and discussion conducted on popular songs in 1930’s to 1960’s performed within Godot Theatre Company in 2002’s musical "Shanghai Love Songs". Also, a comparison is made between Godot Theatre Company in 2002’s musical "Shanghai Love Songs" and" La Camellia", written by Alexandre Dumas, on their performance forms, stories, figures and background. This essay is separated into six chapters. The main introduction is in the first chapter, explaining research motivation and approaches adopted. The second chapter states the comparison on performance forms and interpretation in La Camellia and Godot Theatre Company’s "Shanghai Love Songs". The third chapter makes an explanation of songs performed in "Shanghai Love Songs",along with brief introduction of its writers, artists, script and own meaning. The fourth chapter focuses on the analysis and interpretation of the leading female character, Yu-Wei Bai. The fifth chapter is the main part and an analysis of 8 selected songs performed by the leading female character is conducted, probing the connection of lyrics and melodies, together with the vocal performance, striving for understanding the feeling of the character and the atmosphere within. The sixth chapter states the summary for the chapters above, putting an emphasis on the interpretation performed by Yu-Wei Bai and analyze its influential impacts on the following interpretation of contemporary songs, hopefully a provision of understanding of 30’s to 60’s songs and its interpretation can be made. Keyword search：Godot Theatre Company, Shanghai Love Songs, La Dame aux Camélias, Chinese musical, Chinese pop music.
Books on the topic "Old Tote Theatre Company"
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Trim, Harrop Josephine, and Society for Theatre Research, eds. The Original, complete, and only authentic story of "Old Wild's" (the Yorkshire "Richardson's," and the pioneer of the provincial theatre): A nursery of strolling players and the celebrities who appeared there : being the reminiscences of its chief and last proprietor, "Sam" Wild. London: Society for Theatre Research, 1989.
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Company, Commonweal Theatre. Commonweal Theatre Company presents The old law by Middleton and Rowley, adapted by M. Hafler: (Programme.). (London), 1990.
Find full textBook chapters on the topic "Old Tote Theatre Company"
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Meisner, Nadine. "Enter Vladimir Teliakovsky." In Marius Petipa, 255–90. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0011.
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Chapter 10 records the arrival of Teliakovsky as the new director. Championing the new artistic ideas that were flourishing in Moscow, he wanted to bring these to sclerotic St Petersburg where the flop of Petipa’s last big ballet, The Magic Mirror, epitomized just how out of touch Petipa was. Teliakovsky saw Petipa as finished, ‘a squeezed lemon’, and set about pushing him out. The reforms in theatre design, as represented by Konstantin Korovin and Alexander Golovin, meant there was revolution inside the theatres, just as there was revolution outside on the streets, with the march on the Winter Palace in 1905. The political fervour spread to elements in the ballet company, who wanted more control and the return of Petipa. But he was too old; the chapter concludes with his death in 1910 and the many tributes to him.