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The National Theatre story
The National Theatre Story is filled with artistic, financial and political battles, onstage triumphs - and the occasional disaster. This definitive account takes readers from the National Theatre's 19th-century origins, through false dawns in the early 1900s, and on to its hard-fought inauguration in 1963. At the Old Vic, Laurence Olivier was for ten years the inspirational Director of the NT Company, before Peter Hall took over and, in 1976, led the move into the National's concrete home on the South Bank. Altogether, the NT has staged more than 800 productions, premiering some of the 20th and 21st centuries' most popular and controversial plays, including Amadeus, The Romans in Britain, Closer, The History Boys, War Horse and One Man, Two Guvnors. Certain to be essential reading for theatre lovers and students, The National Theatre Story is packed with photographs and draws on Daniel Rosenthal's unprecedented access to the National Theatre's own archives, unpublished correspondence and more than 100 new interviews with directors, playwrights and actors, including Olivier's successors as Director (Peter Hall, Richard Eyre, Trevor Nunn and Nicholas Hytner), and other great figures from the last 50 years of British and American drama, among them Edward Albee, Alan Bennett, Judi Dench, Michael Gambon, David Hare, Tony Kushner, Ian McKellen, Diana Rigg, Maggie Smith, Peter Shaffer, Stephen Sondheim and Tom Stoppard.
Book
Performing «Polishness»
This article is a review of Dariusz Kosiński’s Performing Poland: Rethinking Histories and Theatres (Aberystwyth 2019). The author points out that the book is an attempt at introducing several centuries of Polish theatre and performance to an international reader. It is divided into five sections which overlap chronologically, altogether creating a comprehensive presentation of Polish theatre. These sections are: theatre of festivities, theatre of fundamental questions, national theatre, political theatre, and theatre of the cultural metropolis. The author, however, draws attention to a problematic issue in Kosiński’s approach. Throughout the book he emphasizes the role of theatre and performance in asserting Polish national identity while ignoring the complex, multi-faceted character of any national identity.
Journal Article
Dance, Too, Originates From a Celestial Muse
The Italian-born ballerina, Claudina Couqui (1835–1913), performed as a guest artist in numerous cities, including two appearences to Pest during the 1860s. Her first performance in 1863 was preceded by great anticipation, and after receiving an enthusiastic reception, she returned to the National Theatre the following year. This study seeks to explore the context of Pál Gyulai’s lesser-known–and, to our knowledge, only–ballet-related dramaturgical work through the lens of the guest performances of the ballerina who had come from Vienna. The investigation is justified by the fact that Gyulai’s critical writings and theatre reviews primarily focused on dramatic productions. However, Couqui’s guest performances required the clarification of some fundamental questions: What role did ballet play among theatrical genres? Where did it stand in relation to drama and opera? And what expectations did contemporary theatre critics and dramaturgists have regarding the genre? Furthermore, what could Gyulai have known about the ballet productions in Pest at the time, and to what extent? Addressing these questions requires an examination of the reception of specific ballet productions.
Journal Article
Staging the people : community and identity in the Federal Theatre Project
\"The Federal Theatre Project stands alone as the only national theatre in the history of the United States. This study re-imagines this vital moment in American history, considering the Federal Theatre Project on its own terms - as a \"federation of theatres\" designed to stimulate new audiences and create locally-relevant theatre during the turbulent 1930s. It integrates a wealth of previously undiscovered archival materials with cultural history, delving into regional activities in Chicago, Boston, Portland, Atlanta, and Birmingham, as well as tours of refugee camps and Civilian Conservation Corps Divisions. For a brief, exhilarating moment, the Federal Theatre Project created a democratic theatre that staged the American people\"-- Provided by publisher.
Book
Dance, Too, Originates From a Celestial Muse
The Italian-born ballerina, Claudina Couqui (1835–1913), performed as a guest artist in numerous cities, including two appearences to Pest during the 1860s. Her first performance in 1863 was preceded by great anticipation, and after receiving an enthusiastic reception, she returned to the National Theatre the following year. This study seeks to explore the context of Pál Gyulai’s lesser-known–and, to our knowledge, only–ballet-related dramaturgical work through the lens of the guest performances of the ballerina who had come from Vienna. The investigation is justified by the fact that Gyulai’s critical writings and theatre reviews primarily focused on dramatic productions. However, Couqui’s guest performances required the clarification of some fundamental questions: What role did ballet play among theatrical genres? Where did it stand in relation to drama and opera? And what expectations did contemporary theatre critics and dramaturgists have regarding the genre? Furthermore, what could Gyulai have known about the ballet productions in Pest at the time, and to what extent? Addressing these questions requires an examination of the reception of specific ballet productions.
Journal Article
Locating the audience
How do audiences experience live performances? What is gained when a national theater is born? These questions and more are the subject of Locating the Audience--the first in-depth study of how people form relationships with a new theater company. Investigating the inaugural season of National Theatre Wales, Kirsty Sedgman explores how different people felt about the way their communities were engaged and their places \"performed\" by the theater's productions. Mapping the complex interplay between audience experience and identity, the book presents a significant contribution to our contemporary project of defining cultural value. Rather than understanding value as an end point--\"impact\"--Sedgman makes the provocative claim that cultural value can better be understood as a process. By talking to audiences and capturing pleasures and disappointments, Locating the Audience shows the meaning-making process in action.
eBook
Shakespeare in the theatre : Shakespeare and the National Theatre, 1963-1975 : Olivier and Hall
\"The National Theatre's years at the Old Vic were the most Shakespearean period in its history, one which included Laurence Olivier's Othello and Shylock, a radical all-male As You Like It, the Berliner Ensemble's Coriolanus and Tom Stoppard's classic offshoot, Rosencrantz and Guildernstern are Dead. Drawing extensively upon the company archives, this book tells the interlinked stories of the National's relationship with Shakespeare through a series of production case studies. Between them these illuminate Olivier's significance as actor and director, the National's pioneering accommodation of European theatre practitioners, and its ways of engaging Shakespeare with the contemporary\"-- Provided by publisher.
Book
Le rôle d’Adelaide Ristori dans la formation de la scène nationale grecque
Adelaide Ristori travelled to Athens in 1865, during her tour of the Eastern Mediterranean, which included major economic and cultural centres in the region. She was the first major actress of the time to travel to the Greek capital to present part of her repertoire. Her theatrical presence, her production on stage as well as her personality as a whole marked the theatre audience, the intellectual elite, even the Athenian bourgeoisie who were lucky enough to admire the great artist’s dramatic art. Being an eminent personality of European theatre, she had a profound influence on the style of performances, from an aesthetic point of view, but also on public opinion regarding dramatic art in general and especially the presence of women on the theatre stage. The presentation will focus on the different areas that she marked in the most pregnant and effective way, contributing to the formation of the Greek national theatre. The data presented here comes from primary research and is based on scientific studies, press of the time and relevant bibliography.
Journal Article