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ESSENTIAL DRAMA
Donations. Donating just £2 will help to cover the costs of running Essential Drama. Acceptance of any contribution, gift or grant is at the discretion of Essential Drama. Essential Drama will not accept any gift unless it can be used or expended consistently with the purpose and mission of Essential Drama. No irrevocable gift, whether COMPLICITE – ESSENTIAL DRAMA Essential Drama will not compensate, whether through commissions, finders' fees, or other means, any third party for directing a gift or a donor to Essential Drama. Agree to Terms? This is a series of interviews about the early years of Complicite with Dr Michael Fry (Deputy Director of East 15). Before we begin here is a selection ofvideos of
MIKE SHEPHERD (KNEEHIGH) Mike is an actor, director, teacher and the artistic director of Kneehigh. He started Kneehigh in 1980 and has worked almost exclusively for the company ever since. Mike is a pioneer of Kneehigh’s transportable venue the Asylum and actively involved in the Kneehigh Rambles. Work as director includes: Hansel and Gretel(Kneehigh, UK and
KNEEHIGH – ESSENTIAL DRAMA Kneehigh’s Growth: Intriguing Methodologies and National Attention. PC: How did you come to study and write about Kneehigh’s work? DR: I am interested in how ensembles work so I wanted to know about the principles of Kneehigh’s working process.I became really curious about the company, what shaped their work and what shaped theirmethodology.
WORLD THEATRE TRADITIONS World Theatre Traditions – Rakugo. “Although many stories have been adapted from written sources. rakugo can be considered a genuine form of oral art because its principal route of transmission down to us has been through the lips of the performers. To this day there are no written manuals or librettos containing the full text of a PLASTIQUES – ESSENTIAL DRAMA PA: Plastiques are distinctively Grotowski’s idea. Beginning with isolation, isolating the wrist or the hand or the elbow, you start to rotate and flex it and explore its possible movements. Then you see where that takes you, where the wrist leads you; the wrist is moving you through the space. ARTAUD AND THE PLAGUE: BODY, BREATH AND BRAIN To create ‘Artaudian’ work think about how you can use your body, your own experience of your body, to express something. Artaud makes a connection between the plague and the theatre. Both should effect the brain and lungs. Theatre should be this contagious, uncontrollable force that invades the body of the actor rendering all their GROTOWSKI’S VOICE WORK: CONNECTING BODY AND VOICE Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project. Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring COMPLICITE: SIMON MCBURNEY’S APPROACH TO THEATRE Complicite: Simon McBurney’s Approach to Theatre. Posted on October 14, 2016. October 12, 2016. by Phil. Interview with Michael Fry. Michael Fry is the Deputy Director of East 15, University of Essex. He has worked as director and writer across the country including Liverpool Everyman, Nottingham Playhouse, the Young Vic and the Lyric KNEEHIGH’S GROWTH: INTRIGUING METHODOLOGIES AND NATIONAL Kneehigh’s Growth: Intriguing Methodologies and National Attention. Posted on June 5, 2017. June 5, 2017. by Phil. This is the first in a series of interviews about the history of Kneehigh with Dr Duška Radosavljevic. The interviews provide an introduction to the company and an academic’s outside eye on Kneehigh as a devising ensemble.ESSENTIAL DRAMA
Donations. Donating just £2 will help to cover the costs of running Essential Drama. Acceptance of any contribution, gift or grant is at the discretion of Essential Drama. Essential Drama will not accept any gift unless it can be used or expended consistently with the purpose and mission of Essential Drama. No irrevocable gift, whether COMPLICITE – ESSENTIAL DRAMA Essential Drama will not compensate, whether through commissions, finders' fees, or other means, any third party for directing a gift or a donor to Essential Drama. Agree to Terms? This is a series of interviews about the early years of Complicite with Dr Michael Fry (Deputy Director of East 15). Before we begin here is a selection ofvideos of
MIKE SHEPHERD (KNEEHIGH) Mike is an actor, director, teacher and the artistic director of Kneehigh. He started Kneehigh in 1980 and has worked almost exclusively for the company ever since. Mike is a pioneer of Kneehigh’s transportable venue the Asylum and actively involved in the Kneehigh Rambles. Work as director includes: Hansel and Gretel(Kneehigh, UK and
KNEEHIGH – ESSENTIAL DRAMA Kneehigh’s Growth: Intriguing Methodologies and National Attention. PC: How did you come to study and write about Kneehigh’s work? DR: I am interested in how ensembles work so I wanted to know about the principles of Kneehigh’s working process.I became really curious about the company, what shaped their work and what shaped theirmethodology.
WORLD THEATRE TRADITIONS World Theatre Traditions – Rakugo. “Although many stories have been adapted from written sources. rakugo can be considered a genuine form of oral art because its principal route of transmission down to us has been through the lips of the performers. To this day there are no written manuals or librettos containing the full text of a PLASTIQUES – ESSENTIAL DRAMA PA: Plastiques are distinctively Grotowski’s idea. Beginning with isolation, isolating the wrist or the hand or the elbow, you start to rotate and flex it and explore its possible movements. Then you see where that takes you, where the wrist leads you; the wrist is moving you through the space. ARTAUD AND THE PLAGUE: BODY, BREATH AND BRAIN To create ‘Artaudian’ work think about how you can use your body, your own experience of your body, to express something. Artaud makes a connection between the plague and the theatre. Both should effect the brain and lungs. Theatre should be this contagious, uncontrollable force that invades the body of the actor rendering all their GROTOWSKI’S VOICE WORK: CONNECTING BODY AND VOICE Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project. Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring COMPLICITE: SIMON MCBURNEY’S APPROACH TO THEATRE Complicite: Simon McBurney’s Approach to Theatre. Posted on October 14, 2016. October 12, 2016. by Phil. Interview with Michael Fry. Michael Fry is the Deputy Director of East 15, University of Essex. He has worked as director and writer across the country including Liverpool Everyman, Nottingham Playhouse, the Young Vic and the Lyric KNEEHIGH’S GROWTH: INTRIGUING METHODOLOGIES AND NATIONAL Kneehigh’s Growth: Intriguing Methodologies and National Attention. Posted on June 5, 2017. June 5, 2017. by Phil. This is the first in a series of interviews about the history of Kneehigh with Dr Duška Radosavljevic. The interviews provide an introduction to the company and an academic’s outside eye on Kneehigh as a devising ensemble. COMPLICITE – ESSENTIAL DRAMA This is a series of interviews about the early years of Complicite with Dr Michael Fry (Deputy Director of East 15). Before we begin here is a selection of videos of Simon McBurney discussing the company and theatre in general that will compliment the more historical focus of the interview with Michael Fry: KNEEHIGH – ESSENTIAL DRAMA Kneehigh’s Growth: Intriguing Methodologies and National Attention. PC: How did you come to study and write about Kneehigh’s work? DR: I am interested in how ensembles work so I wanted to know about the principles of Kneehigh’s working process.I became really curious about the company, what shaped their work and what shaped theirmethodology.
TIM ETCHELLS (FORCED ENTERTAINMENT) Tim Etchells is an artist and a writer based in the UK. He has worked in a wide variety of contexts, notably as artistic director of the world-renowned performance group Forced Entertainment.He has also worked in collaboration with a range of visual artists, choreographers, and photographers. JON ORAM – ESSENTIAL DRAMA PC: The way the company is organised and led has changed a few times with Kneehigh.That must have had an interesting effect on their work. DR: Yes, one of the characteristics of Mike’s leadership of Kneehigh has been that he has been very generous and open with his way of working.So I mentioned Jon Oram from the Theatre in Education world. He developed networks of artists and broughtANTONIN ARTAUD
Significant moments in the development of theory and practice. Theatrical style. Innovations. Antonin Artaud is one of the great visionaries of the theatre. Born in France in 1896 his life was turbulent to say the least. Very little of his theatre work was everproduced in
BRECHT – TOM KUHN – ESSENTIAL DRAMA Tom Kuhn is Professor of Twentieth-Century German Literature and Fellow of St Hugh’s College. His main research interests are in political literature in the 20th century. He has worked particularly on Bertolt Brecht, and is the series editor of the main English-language edition of Brecht’s works. email: tom.kuhn@st-hughs.ox.ac.uk.STEF O’DRISCOLL
Stef O’Driscoll. Photo by Rebecca Need-Menear. Stef is a freelance director who has been the Artistic Director of nabokov and the Associate Director at Paines Plough and the Lyric Hammersmith. At the time of this interview she had been directing A History of Water in the Middle East by Sabrina Mahfouz. She had also recently directed Litby
JOAN LITTLEWOOD
Littlewood was interested in the politics of Shakespeare’s time and how that could have contemporary relevance. The classical plays had strong female character, which was important for Littlewood. Littlewood wanted to break down the barriers between the GROTOWSKI’S REPLY TO STANISLAVSKI Grotowski wrote this text, Reply to Stanislavski in 1983 in Polish. It was only published in English in 2008 in The Drama Review. He explains how he’d been influenced by Stanislavski after studying him in Moscow and how he was carrying on the work ‘On Physical Actions’ that Stanislavski had left unfinished when he died. ARTAUD’S ENCOUNTER WITH THE SURREALISTS: ARTAUD VS. BRETON RM: Yes. There is an interview with Breton where he talks, in retrospect, about Artaud where he talks about language “glistening”, but he says with Artaud it was glistening like a weapon. Breton contrasts Artaud’s vision to Aragon’s, who was a Surrealist poet, who wrote about a “wave of dreams”, whereas Artaud was talking aboutESSENTIAL DRAMA
Donations. Donating just £2 will help to cover the costs of running Essential Drama. Acceptance of any contribution, gift or grant is at the discretion of Essential Drama. Essential Drama will not accept any gift unless it can be used or expended consistently with the purpose and mission of Essential Drama. No irrevocable gift, whether COMPLICITE – ESSENTIAL DRAMA Essential Drama will not compensate, whether through commissions, finders' fees, or other means, any third party for directing a gift or a donor to Essential Drama. Agree to Terms? This is a series of interviews about the early years of Complicite with Dr Michael Fry (Deputy Director of East 15). Before we begin here is a selection ofvideos of
MIKE SHEPHERD (KNEEHIGH) Mike is an actor, director, teacher and the artistic director of Kneehigh. He started Kneehigh in 1980 and has worked almost exclusively for the company ever since. Mike is a pioneer of Kneehigh’s transportable venue the Asylum and actively involved in the Kneehigh Rambles. Work as director includes: Hansel and Gretel(Kneehigh, UK and
WORLD THEATRE TRADITIONS World Theatre Traditions – Rakugo. “Although many stories have been adapted from written sources. rakugo can be considered a genuine form of oral art because its principal route of transmission down to us has been through the lips of the performers. To this day there are no written manuals or librettos containing the full text of a STANISLAVSKI’S CONTEXT (MARIA SHEVTSOVA) Donation Total: £2.00. Suggested Donation £2. Maria Shevtsova is Professor of Drama and Theatre Arts at Goldsmiths, University of London. She is Dr. honoris causa of the University of Craiova. Author of more than 140 articles and chapters in collected volumes, her books include Dodin and the Maly Drama Theatre: Process to Performance (2004 GROTOWSKI – ESSENTIAL DRAMA In 1955, he was studying at GITIS in Moscow, one of the main Russian drama schools. Grotowski worked with Yuri Zavadsky, who had come out of the Stanislavskian tradition. People often see Stanislavski and Grotowski as being opposed; that is a real mistake. Grotowski wrotethis
ARTAUD AND THE PLAGUE: BODY, BREATH AND BRAIN To create ‘Artaudian’ work think about how you can use your body, your own experience of your body, to express something. Artaud makes a connection between the plague and the theatre. Both should effect the brain and lungs. Theatre should be this contagious, uncontrollable force that invades the body of the actor rendering all their KNEEHIGH’S INSTINCTIVE STYLE: STORYTELLING AND ADAPTATION Kneehigh’s Instinctive Style: Storytelling and Adaptation. Posted on June 9, 2017 by Phil. This is the fourth in a series of interviews about the history of Kneehigh with Dr Duška Radosavljevic. The interviews provide an introduction to the company and an academic’s outside eye on Kneehigh as a devising ensemble. GROTOWSKI’S VOICE WORK: CONNECTING BODY AND VOICE Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project. Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring GROTOWSKI COMPOSES ASSOCIATIONS: PLASTIQUE AND CORPOREAL PC: How important were the imagination and associations for the actor? PA: I think that this is one of the problems that Grotowski identified with people imitating the work.People can watch exercises in a film called Letter from Opole, a thirty minute film about the early training or they can watch Cieślak training; but they can’t necessarily understand the connection to the inner work orESSENTIAL DRAMA
Donations. Donating just £2 will help to cover the costs of running Essential Drama. Acceptance of any contribution, gift or grant is at the discretion of Essential Drama. Essential Drama will not accept any gift unless it can be used or expended consistently with the purpose and mission of Essential Drama. No irrevocable gift, whether COMPLICITE – ESSENTIAL DRAMA This is a series of interviews about the early years of Complicite with Dr Michael Fry (Deputy Director of East 15). Before we begin here is a selection of videos of Simon McBurney discussing the company and theatre in general that will compliment the more historical focus of the interview with Michael Fry: MIKE SHEPHERD (KNEEHIGH) Mike is an actor, director, teacher and the artistic director of Kneehigh. He started Kneehigh in 1980 and has worked almost exclusively for the company ever since. Mike is a pioneer of Kneehigh’s transportable venue the Asylum and actively involved in the Kneehigh Rambles. Work as director includes: Hansel and Gretel(Kneehigh, UK and
WORLD THEATRE TRADITIONS World Theatre Traditions – Rakugo. “Although many stories have been adapted from written sources. rakugo can be considered a genuine form of oral art because its principal route of transmission down to us has been through the lips of the performers. To this day there are no written manuals or librettos containing the full text of a STANISLAVSKI’S CONTEXT (MARIA SHEVTSOVA) Donation Total: £2.00. Suggested Donation £2. Maria Shevtsova is Professor of Drama and Theatre Arts at Goldsmiths, University of London. She is Dr. honoris causa of the University of Craiova. Author of more than 140 articles and chapters in collected volumes, her books include Dodin and the Maly Drama Theatre: Process to Performance (2004 GROTOWSKI – ESSENTIAL DRAMA In 1955, he was studying at GITIS in Moscow, one of the main Russian drama schools. Grotowski worked with Yuri Zavadsky, who had come out of the Stanislavskian tradition. People often see Stanislavski and Grotowski as being opposed; that is a real mistake. Grotowski wrotethis
PLASTIQUES – ESSENTIAL DRAMA PC: How important were the imagination and associations for the actor? PA: I think that this is one of the problems that Grotowski identified with people imitating the work.People can watch exercises in a film called Letter from Opole, a thirty minute film about the early training or they can watch Cieślak training; but they can’t necessarily understand the connection to the inner work or ARTAUD AND THE PLAGUE: BODY, BREATH AND BRAIN To create ‘Artaudian’ work think about how you can use your body, your own experience of your body, to express something. Artaud makes a connection between the plague and the theatre. Both should effect the brain and lungs. Theatre should be this contagious, uncontrollable force that invades the body of the actor rendering all their GROTOWSKI’S VOICE WORK: CONNECTING BODY AND VOICE Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project. Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring GROTOWSKI COMPOSES ASSOCIATIONS: PLASTIQUE AND CORPOREAL PC: How important were the imagination and associations for the actor? PA: I think that this is one of the problems that Grotowski identified with people imitating the work.People can watch exercises in a film called Letter from Opole, a thirty minute film about the early training or they can watch Cieślak training; but they can’t necessarily understand the connection to the inner work or KNEEHIGH – ESSENTIAL DRAMA Kneehigh’s Growth: Intriguing Methodologies and National Attention. PC: How did you come to study and write about Kneehigh’s work? DR: I am interested in how ensembles work so I wanted to know about the principles of Kneehigh’s working process.I became really curious about the company, what shaped their work and what shaped theirmethodology.
GROTOWSKI – ESSENTIAL DRAMA In 1955, he was studying at GITIS in Moscow, one of the main Russian drama schools. Grotowski worked with Yuri Zavadsky, who had come out of the Stanislavskian tradition. People often see Stanislavski and Grotowski as being opposed; that is a real mistake. Grotowski wrotethis
PLASTIQUES – ESSENTIAL DRAMA PC: How important were the imagination and associations for the actor? PA: I think that this is one of the problems that Grotowski identified with people imitating the work.People can watch exercises in a film called Letter from Opole, a thirty minute film about the early training or they can watch Cieślak training; but they can’t necessarily understand the connection to the inner work or TIM ETCHELLS (FORCED ENTERTAINMENT) Tim Etchells is an artist and a writer based in the UK. He has worked in a wide variety of contexts, notably as artistic director of the world-renowned performance group Forced Entertainment.He has also worked in collaboration with a range of visual artists, choreographers, and photographers.ANTONIN ARTAUD
Significant moments in the development of theory and practice. Theatrical style. Innovations. Antonin Artaud is one of the great visionaries of the theatre. Born in France in 1896 his life was turbulent to say the least. Very little of his theatre work was everproduced in
SIMON STEPHENS
Simon Stephens is one of the UK’s most prolific and celebrated playwrights. His plays include Bluebird (Royal Court, 1998); Herons (Royal Court, 2001); Port (Royal Exchange, 2002); One Minute (Crucible Theatre, 2003 and Bush Theatre, 2004); Christmas (Bush Theatre, 2004); Country Music (Royal Court Theatre Upstairs, 2004); On the Shore of the Wide World (Royal Exchange Theatre and NationalSTEF O’DRISCOLL
Stef O’Driscoll. Photo by Rebecca Need-Menear. Stef is a freelance director who has been the Artistic Director of nabokov and the Associate Director at Paines Plough and the Lyric Hammersmith. At the time of this interview she had been directing A History of Water in the Middle East by Sabrina Mahfouz. She had also recently directed Litby
ARTAUD’S IDEAS TODAY: CINEMA AND DANCE Artaud’s ideas about theatre are being used a lot more is in cinema now. The physical effect that the audience experiences is actually to do with waiting and waiting and you are really made to experience that feeling of time. Filmmakers are looking at gesture as a philosophical concept in cinema, which is something that comes from the theatre. GROTOWSKI’S REPLY TO STANISLAVSKI Grotowski wrote this text, Reply to Stanislavski in 1983 in Polish. It was only published in English in 2008 in The Drama Review. He explains how he’d been influenced by Stanislavski after studying him in Moscow and how he was carrying on the work ‘On Physical Actions’ that Stanislavski had left unfinished when he died. COMPLICITE: SIMON MCBURNEY’S APPROACH TO THEATRE Complicite: Simon McBurney’s Approach to Theatre. Posted on October 14, 2016. October 12, 2016. by Phil. Interview with Michael Fry. Michael Fry is the Deputy Director of East 15, University of Essex. He has worked as director and writer across the country including Liverpool Everyman, Nottingham Playhouse, the Young Vic and the LyricESSENTIAL DRAMA
Donations. Donating just £2 will help to cover the costs of running Essential Drama. Acceptance of any contribution, gift or grant is at the discretion of Essential Drama. Essential Drama will not accept any gift unless it can be used or expended consistently with the purpose and mission of Essential Drama. No irrevocable gift, whether COMPLICITE – ESSENTIAL DRAMA Essential Drama will not compensate, whether through commissions, finders' fees, or other means, any third party for directing a gift or a donor to Essential Drama. Agree to Terms? This is a series of interviews about the early years of Complicite with Dr Michael Fry (Deputy Director of East 15). Before we begin here is a selection ofvideos of
MIKE SHEPHERD (KNEEHIGH) Mike is an actor, director, teacher and the artistic director of Kneehigh. He started Kneehigh in 1980 and has worked almost exclusively for the company ever since. Mike is a pioneer of Kneehigh’s transportable venue the Asylum and actively involved in the Kneehigh Rambles. Work as director includes: Hansel and Gretel(Kneehigh, UK and
THEATRE OF SOURCES
The narrative is of the Constant Prince being tortured by the Moors: a horrible story, based on the Calderón de la Barca play. The torture ends with the Prince’s death, because he doesn’t give in: he’s constant. We see that story but, without knowing it, we experience this whole other life intuitively. PARATHEATRE: WHAT IS BEYOND THEATRE? artistic intentions. theatrical purpose. key collaborations with other artists. methods of creating, developing, rehearsing and performing. relationship between actor and audience in theory and practice. significant moments in the development of theory and practice.STEF O’DRISCOLL
Stef O’Driscoll. Photo by Rebecca Need-Menear. Stef is a freelance director who has been the Artistic Director of nabokov and the Associate Director at Paines Plough and the Lyric Hammersmith. At the time of this interview she had been directing A History of Water in the Middle East by Sabrina Mahfouz. She had also recently directed Litby
JON ORAM – ESSENTIAL DRAMA PC: The way the company is organised and led has changed a few times with Kneehigh.That must have had an interesting effect on their work. DR: Yes, one of the characteristics of Mike’s leadership of Kneehigh has been that he has been very generous and open with his way of working.So I mentioned Jon Oram from the Theatre in Education world. He developed networks of artists and brought COMPLICITE: SIMON MCBURNEY’S APPROACH TO THEATRE Complicite: Simon McBurney’s Approach to Theatre. Posted on October 14, 2016. October 12, 2016. by Phil. Interview with Michael Fry. Michael Fry is the Deputy Director of East 15, University of Essex. He has worked as director and writer across the country including Liverpool Everyman, Nottingham Playhouse, the Young Vic and the Lyric GROTOWSKI’S VOICE WORK: CONNECTING BODY AND VOICE Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project. Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring KNEEHIGH’S GROWTH: INTRIGUING METHODOLOGIES AND NATIONAL Kneehigh’s Growth: Intriguing Methodologies and National Attention. Posted on June 5, 2017. June 5, 2017. by Phil. This is the first in a series of interviews about the history of Kneehigh with Dr Duška Radosavljevic. The interviews provide an introduction to the company and an academic’s outside eye on Kneehigh as a devising ensemble.ESSENTIAL DRAMA
Donations. Donating just £2 will help to cover the costs of running Essential Drama. Acceptance of any contribution, gift or grant is at the discretion of Essential Drama. Essential Drama will not accept any gift unless it can be used or expended consistently with the purpose and mission of Essential Drama. No irrevocable gift, whether COMPLICITE – ESSENTIAL DRAMA Essential Drama will not compensate, whether through commissions, finders' fees, or other means, any third party for directing a gift or a donor to Essential Drama. Agree to Terms? This is a series of interviews about the early years of Complicite with Dr Michael Fry (Deputy Director of East 15). Before we begin here is a selection ofvideos of
MIKE SHEPHERD (KNEEHIGH) Mike is an actor, director, teacher and the artistic director of Kneehigh. He started Kneehigh in 1980 and has worked almost exclusively for the company ever since. Mike is a pioneer of Kneehigh’s transportable venue the Asylum and actively involved in the Kneehigh Rambles. Work as director includes: Hansel and Gretel(Kneehigh, UK and
THEATRE OF SOURCES
The narrative is of the Constant Prince being tortured by the Moors: a horrible story, based on the Calderón de la Barca play. The torture ends with the Prince’s death, because he doesn’t give in: he’s constant. We see that story but, without knowing it, we experience this whole other life intuitively. PARATHEATRE: WHAT IS BEYOND THEATRE? artistic intentions. theatrical purpose. key collaborations with other artists. methods of creating, developing, rehearsing and performing. relationship between actor and audience in theory and practice. significant moments in the development of theory and practice.STEF O’DRISCOLL
Stef O’Driscoll. Photo by Rebecca Need-Menear. Stef is a freelance director who has been the Artistic Director of nabokov and the Associate Director at Paines Plough and the Lyric Hammersmith. At the time of this interview she had been directing A History of Water in the Middle East by Sabrina Mahfouz. She had also recently directed Litby
JON ORAM – ESSENTIAL DRAMA PC: The way the company is organised and led has changed a few times with Kneehigh.That must have had an interesting effect on their work. DR: Yes, one of the characteristics of Mike’s leadership of Kneehigh has been that he has been very generous and open with his way of working.So I mentioned Jon Oram from the Theatre in Education world. He developed networks of artists and brought COMPLICITE: SIMON MCBURNEY’S APPROACH TO THEATRE Complicite: Simon McBurney’s Approach to Theatre. Posted on October 14, 2016. October 12, 2016. by Phil. Interview with Michael Fry. Michael Fry is the Deputy Director of East 15, University of Essex. He has worked as director and writer across the country including Liverpool Everyman, Nottingham Playhouse, the Young Vic and the Lyric GROTOWSKI’S VOICE WORK: CONNECTING BODY AND VOICE Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project. Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring KNEEHIGH’S GROWTH: INTRIGUING METHODOLOGIES AND NATIONAL Kneehigh’s Growth: Intriguing Methodologies and National Attention. Posted on June 5, 2017. June 5, 2017. by Phil. This is the first in a series of interviews about the history of Kneehigh with Dr Duška Radosavljevic. The interviews provide an introduction to the company and an academic’s outside eye on Kneehigh as a devising ensemble.INTRODUCTION
Dan is Professor of Contemporary Theatre at Royal Holloway. He specialises in post-war British theatre. 1956 and All That (Routledge, 1999) is a rereading of the ‘theatrical revolution’ thought to have taken place at the Royal Court around Look Back in Anger.Dan is also an award-winning playwright, and his work has been performed across Britain and in Europe and America, on stage and radio. COMPLICITE – ESSENTIAL DRAMA This is a series of interviews about the early years of Complicite with Dr Michael Fry (Deputy Director of East 15). Before we begin here is a selection of videos of Simon McBurney discussing the company and theatre in general that will compliment the more historical focus of the interview with Michael Fry: TIM CROUCH – ESSENTIAL DRAMA Tim Crouch is a playwright, actor and director. His work includes My Arm (Prix Italia 2004), An Oak Tree (Herald Angel 2005, OBIE 2007), ENGLAND – A Play for Galleries (Fringe First, Total Theatre Award, Herald Angel 2007), The Author (Total Theatre Award, John Whiting Award 2010), what happens to the hope at the end of the evening (with Andy Smith), Adler & Gibb and The Complete Deaths TIM ETCHELLS (FORCED ENTERTAINMENT) Tim Etchells is an artist and a writer based in the UK. He has worked in a wide variety of contexts, notably as artistic director of the world-renowned performance group Forced Entertainment.He has also worked in collaboration with a range of visual artists, choreographers, and photographers.STEF O’DRISCOLL
Stef O’Driscoll. Photo by Rebecca Need-Menear. Stef is a freelance director who has been the Artistic Director of nabokov and the Associate Director at Paines Plough and the Lyric Hammersmith. At the time of this interview she had been directing A History of Water in the Middle East by Sabrina Mahfouz. She had also recently directed Litby
TEXT-BASED THEATRE
The film Meetings with Remarkable Men by Peter Brook was based on Gurdjieff’s book of the same name. Gurdjieff believed that “We’re sleeping all the time, we need to wake up.”. He had these rigorous exercises to wake people up in their daily lives. We can see that idea in Grotowski and Brook too. JON ORAM – ESSENTIAL DRAMA PC: The way the company is organised and led has changed a few times with Kneehigh.That must have had an interesting effect on their work. DR: Yes, one of the characteristics of Mike’s leadership of Kneehigh has been that he has been very generous and open with his way of working.So I mentioned Jon Oram from the Theatre in Education world. He developed networks of artists and brought GESTUS – ESSENTIAL DRAMA Gestus, Haltung, inductive rehearsal , the realistic detail, the ‘not/but’. The Brechtian Method: outlines how Brecht’s approach to making theatre can be considered a ‘method’ and how it might be applied. It begins with the construction of the Fabel , which then leads to initial blockings in the form of the scenes’ Arrangements .SABRINA MAHFOUZ
Sabrina Mahfouz has recently been elected a Fellow of the Royal Society of Literature and is the recipient of the 2018 King’s Alumni Arts & Culture Award. She has won a Sky Arts Academy Award for Poetry and a Westminster Prize for New Playwrights. Sabrina’s theatre work includes Chef, a Fringe First Award winner; Dry Ice, for which she was ARTAUD’S IDEAS TODAY: CINEMA AND DANCE Artaud’s ideas about theatre are being used a lot more is in cinema now. The physical effect that the audience experiences is actually to do with waiting and waiting and you are really made to experience that feeling of time. Filmmakers are looking at gesture as a philosophical concept in cinema, which is something that comes from the theatre.˄
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Acceptance of any contribution, gift or grant is at the discretion of Essential Drama. Essential Drama will not accept any gift unless it can be used or expended consistently with the purpose and mission ofEssential Drama.
No irrevocable gift, whether outright or life-income in character, will be accepted if under any reasonable set of circumstances the gift would jeopardize the donor’s financial security. Essential Drama will refrain from providing advice about the tax or other treatment of gifts and will encourage donors to seek guidance from their own professional advisers to assist them in the process of making their donation. Essential Drama will not compensate, whether through commissions, finders' fees, or other means, any third party for directing a gift or a donor to Essential Drama. Show Terms Hide Terms Agree to Terms? Donation Total: £2.00Donate
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