Tuesday, 30 May 2017
Thursday, 25 May 2017
Monday, 22 May 2017
Professor Edith Hall on Euripides' Medea
Click on link below for Prof Edith Hall's web page and many articles on the broader topics of Ancient Greek Drama.
http://edithhall.co.uk/articles
Tuesday, 16 May 2017
Wednesday, 10 May 2017
Waiting for Godot at San Quentin
This is part of a documentary made at the set up of a theater production, played by prisoners, at San Quentin State Prison in California. The play was open to the public and premiered 1988.
This unique video has not been on show before.
Director John Reilly
Produced by John Reilly and Global Village for the Beckett Project
Vladimir: Donald James
Estragon: Reginald Wilson
Pozzo: Spoon Jackson
Director: Jan Jönsson (Sweden)
""Godot in San Quentin" (1987) documents the production of "Waiting for Godot" by a cast of inmates from San Quentin Prison. Producer and director John Reilly and a crew spent four weeks at the maximum-security facility; rehearsal and performance sequences are intercut with footage of daily prison life and discussions with the principal characters.
Reilly has said that the inmates "do not `act' because they are not trained actors, but they feel the parts because they have lived the lives of Beckett's characters."
The Chicago Tribune http://articles.chicagotribune.com/19...
Read the story about the theater production from the point of view of one of the actors Spoon Jackson in: "By Heart, Poetry, Prison, and Two Lives" by Judith Tannenbaum and Spoon Jackson
Get it here: http://www.newvillagepress.net/book/?...
This unique video has not been on show before.
Director John Reilly
Produced by John Reilly and Global Village for the Beckett Project
Vladimir: Donald James
Estragon: Reginald Wilson
Pozzo: Spoon Jackson
Director: Jan Jönsson (Sweden)
""Godot in San Quentin" (1987) documents the production of "Waiting for Godot" by a cast of inmates from San Quentin Prison. Producer and director John Reilly and a crew spent four weeks at the maximum-security facility; rehearsal and performance sequences are intercut with footage of daily prison life and discussions with the principal characters.
Reilly has said that the inmates "do not `act' because they are not trained actors, but they feel the parts because they have lived the lives of Beckett's characters."
The Chicago Tribune http://articles.chicagotribune.com/19...
Read the story about the theater production from the point of view of one of the actors Spoon Jackson in: "By Heart, Poetry, Prison, and Two Lives" by Judith Tannenbaum and Spoon Jackson
Dr Nick Mount of Toronto University on Waiting for Godot
What are the 3 Unities of Drama as outlined by Aristotle in his text "POETICS"?
Unities, in drama, the three principles derived by French classicists from Aristotle’s Poetics; they require a play to have a single action represented as occurring in a single place and within the course of a day. These principles were called, respectively, unity of action, unity of place, and unity of time. These three unities were redefined in 1570 by the Italian humanist Lodovico Castelvetro in his interpretation of Aristotle, and they are usually referred to as “Aristotelian rules” for dramatic structure. Actually, Aristotle’s observations on tragedy are descriptive rather than prescriptive, and he emphasizes only one unity, that of plot, or action. (Sourced from ENCYLOPEDIA BRITANNICA)
Tuesday, 9 May 2017
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