#claire van kampen

[greencheekconure27]

Come Away Death (Live)

[willstafford]

Prince of Tides

PERICLES Royal Shakespeare Theatre, Stratford upon Avon, 14th August 2024 Perhaps not the most well-known or easily quotable of Shakespeare’s plays, in performance Pericles is an undoubted crowd-pleaser.  Tamara Harvey, making her directorial debut for the RSC, keeps this in mind in this stylish but sparse production.  The crowd is very pleased indeed. Harvey, eschewing all scenery, uses her…

[capturetheatre]

Curtain call for “Farinelli and the King”, Duke of York’s Theatre, 2015

[alicesusanna]

"My thoughts are whirled like a potter's wheel": I know not where I am, nor what I do"

“My thoughts are whirled like a potter’s wheel”: I know not where I am, nor what I do”

Henry VI part 1, Act 1, Scene 5 William Shakespeare Two men killing time whilst waiting for something that might never happen. Remind you of anything…? Mark Rylance and Louis Jenkins’ new play Nice Fish shares many similarities with Waiting for Godot, but far outstrips even Beckett in its absurdity. So absurd is the script, in fact, that it seems like it really belongs at a fringe or off-West End…

[misslacito]

Premiere de Dunkirk

Vamos ahora a un estreno próximo de cine. Se trata de la película Dunkirk dirigida por Christopher Nolan. Se ambienta en la Segunda Guerra Mundial y la podremos ver en los cines desde este mismo viernes. A la premiere acudió el Príncipe Harry de Inglaterra ya que tuvo lugar en Londres. Vamos a ver esta alfombra roja!

Clara Paget de Chanel.

(more…)

[shade-without-color]

The One who soothed and haunts-A fanmix for Oswyn/Sibyl [Listen on Spotify]

01. More | Halsey // 02. Never Coming Back | Evan Cell // 03. First Love/Late Spring | Mitski // 04. First Love | Utada Hikaru// 05. my tears ricochet | Taylor Swift // 06. Happiness is a butterfly | Lana Del Rey // 07. Yumeji’s theme | Shigeru Umebayashi // 08. 100 Years | Florence + The Machine // 09. What a Heavenly way to Die | Troye Sivan// 10. Henry Sings Of Anne: Alas What Should I Do | Claire van Kampen and Musicians of The Globe // 11. listen before I go | Billie Eilish // 12. Suite d'Abdelazer: or, the moor's revenge: Rondeau | Henry Purcell // 13. A Change of Sex | David Motion // 14. Please Please Please Let Me Get What I Want | The Smiths // 15. ya’aburnee | Halsey

[harry-leroy]

20 in 20 Book Tag

I was tagged by the lovely @princess-of-france. Thank you!! ❤️

Rules: List either 20 books you want to read in 2020 or 20 goals, or some mix of both, up to you! Then tag some friends to play along :)

(Those are essentially paraphrased rules, but you get the general idea...)

I broke the rules a bit and did 20 books and 10 goals - as a lit major I always have a list a mile long of books I want/need to read. Some of these are plays as well, because I’ve got like half a leg stuck in theatre but I love it. And goals are always important!

20 Books for 2020

1. The Libertine - Stephen Jeffreys

2. Things Fall Apart - Chinua Achebe

3. Shakespeare in Love - Tom Stoppard

4. Blandings Castle - P.G. Wodehouse

5. Dunbar: William Shakespeare’s King Lear Retold - Edward St. Aubyn

6. L.E.L.: The Lost Life and Scandalous Death of Letitia Elizabeth Landon, the Celebrated “Female Byron” - Lucasta Miller

7. The Island Princess - John Fletcher

8. Collaborative Playwriting - Paul C Castagno

9. The Moonstone - Wilkie Collins

10. Farinelli and the King - Claire Van Kampen

11. The Vexations - Caitlin Horrocks

12. The Revolutionists: A Comedy, A Quartet, A Revolutionary Dream Fugue - Lauren Gunderson

13. Poldark - Winston Graham

14. This is Shakespeare - Emma Smith

15. The Gilded Stage: A Social History of Opera - Daniel Snowman

16. Schubert’s Winter Journey: Anatomy of an Obsession - Ian Bostridge

17. Emma - Jane Austen

18. The Big Sleep - Raymond Chandler

19. Last Bus to Woodstock - Colin Dexter

20. Shakespearean Character: Language in Performance - Jelena Marelj, Jonathan Hope (that’s my cool Shakespeare professor ahh), Lynne Magnusson

10 Goals for 2020

1. Get through 99 operas! - 49 were on a list of most famous operas, 50 were chosen by me. We’re 5 down - 94 to go!

2. Actually use my planner :’) - I bought fun stickers to put in and on it so maybe it’ll persuade me to use it.

3. Make new friends and keep in touch with old ones! (I’m so excited to meet a bunch of theatre people in two weeks guys).

4. Figure out a thesis topic (ahhhh)

5. Do well academically this semester and turn in some good honors projects.

6. Finish a draft of The Selby Roses

7. Perhaps start a new play WIP (we’ll see)

8. Travel!

9. Learn how to sing or play a new instrument

10. Perhaps start a studyblr... or blog/vlog thing? (I’m not sure how interested people would be or how plausible this sounds with my crazy busy schedule, but I feel like a studyblr would be manageable).

Tagging: @nuingiliath, @dustyp-rose, @bonebreakfast, @sneez, @forcebros, @shredsandpatches, @necromancy-savant, @devilsss-dyke, @twostarsinonesphere, @meharmonycarmen, @ghost-minuet, @chaotic-archaeologist, @lovesjustachemical, @henriadical, @witty-fool, @fantasmaglory, @maryiofengland, @exercise-of-trust, and @themalhambird, @maplelantern

(I think all of y’all are mutuals! I don’t know all of you extraordinarily well, but consider this to be a wave hello! Of course, anyone who sees this and wants to do it is tagged - I love seeing people’s TBR lists. And if life is moving at 9000 mph, don’t feel obligated to do this! ❤️)

[jessiidabashi]

Gerben van der Werf, boy soprano, Kampen Boys' Choir, Thyrsis & Milla, T...

Thyrsis and Milla, arm in arm together In merry May to the green garden walked; Where all the way they wanton riddles talked. The youthful boy kissing her cheeks all rosy, Beseech'd her there to gather him a posy.

She straight her light green silken coats uptucked And may for Mill, and thyme for Thyrsis plucked, Which when she brought he clasp'd her by the middle, And kiss'd her sweet,but could not read her riddle. Ah, fool! With that the nymph set up a laughter And blush'd and ran and ran away, and he ran after.

Thyrsis et Milla, bras dessus bras dessous En joyeux mai au jardin verdoyant marchait; Où tout le chemin ils ont parlé d'énigmes démesurées. Le jeune garçon embrassant ses joues tout roses, Je l'ai suppliée de lui ramasser un bouquet.

Elle a redressé ses manteaux de soie vert clair remontés Et mai pour Mill, et thym pour Thyrsis cueilli, Et quand elle l'a amenée, il l'a étreint par le milieu, Et je l'ai embrassée gentiment, mais ne pouvait pas lire son énigme. Ah, imbécile! Avec ça la nymphe a éclaté de rire Et il a rougi, a couru et s'est enfui, et il a couru après.

[cinemaocd]

in my feelings about THEM (Thomas & Elizabeth Cromwell) tonight.

[shakespearesglobeblog]

Shakespeare’s Globe produces new plays?

Jessica Lusk is our Literary Manager. She is responsible for the research and development of all our new writing. Lucky her! If you came to see Emilia in 2018 you can thank Jessica in part for that.

In this blog she explains why and how we commission new plays at Shakespeare's Globe. If you're a budding playwright this is essential reading. 

The Globe has always been a new writing venue. It’s hard to believe now but Shakespeare was a new writer once, and The Globe I write from now, (the third Globe) is still a new writing venue today.

Our first brand new play was seen by enthusiastic audiences back in 2002, it was called The Golden Ass by Peter Oswald – an adaptation of a Roman Classic – with a cast of 30 actors playing almost 200 different characters, with puppetry, opera and mini-scooters… it was certainly not a case of starting small!

Since then we have produced almost 40 new plays, for both the Globe and the Sam Wanamaker Playhouse, including Jessica Swale��s Nell Gwynn, Howard Brenton’s Anne Boleyn, Che Walker’s The Frontline, Claire van Kampen’s Farinelli and the King, Morgan Lloyd Malcolm’s Emilia and most recently Tom Stuart’s After Edward. They’ve played here, in the West End and on Broadway, as well as on tour around the UK.

Now, as we enter our 22nd year, the process of commissioning and developing new work is getting a shake-up. Shakespeare wrote his plays specifically for the Lord Chamberlain’s Men and for the playhouses they performed in, and once they had passed the censor then it was left to the audience to decide their worth.

We want to take this as our guide: to work with writers and produce exciting new plays written bespoke to the architecture they will be performed in. We will give writers the space and time to work with our academics and research team, spend time with our actors, see plays in our theatres, experiment with and learn from the architectural playing conditions of our two theatres, the practitioners who work in them, and ultimately write a play bespoke to those theatres.

We’re calling this idea ‘The Scriptorium’, hearkening back to the medieval idea of a space devoted to writing, but more on that another time…!

Our cause is to celebrate and interrogate Shakespeare’s transformative impact on the world - and where can that impact be more felt than in the writers of today…. Artistic descendants of this extraordinary shaman.

Our aim is to programme and produce new work within a season of Shakespeare’s plays that support and complement each other. For example, we programmed Emilia in a season of Shakespeare’s plays in which the character of Emilia threads her way through several stories – Othello, The Winter’s Tale and The Two Noble Kinsmen. These plays provided an opportunity and framework to reflect on the myriad influences this ‘Dark Lady’ may have had on Shakespeare’s imagination, but crucially in Emilia, Morgan Lloyd Malcolm placed this revolutionary poet right where she is meant to be – at the centre of her own story.

At the beginning of 2019 we hosted our first ever new writing festival: responses to our winter production of Marlowe's Doctor Faustus. The central Faustian bargain has traditionally been associated with the male 'soul', and so, we commissioned six female writers to give a feminine response to the central provocation at the heart of Doctor Faustus that asks 'what would you sell your soul for?' The responses were surprising, revealing, funny and truly moving, and the reaction from the audiences were similar. To have an opportunity to see how  classic plays sit in conversation with brand new ones is so exciting, and this festival of writing is something we want to do again and again, bigger and even better.

During the festival we experimented with different performance spaces and found that there’s so much more to play with than just a traditional stage. The Globe’s ‘Tiring House’ (where you would put on your ‘attire’ before a performance) makes a beautifully intimate and immediate playing space that created a ‘pop-up’ element to our first new writing festival. So, watch this space, and lots of other spaces around the building. 

If you’re a writer, here are a few things to bear in mind:

One of the exciting things that writers find here is that the Globe theatre demands writing that is truly active, epic and democratic. The audience can be your biggest supporter or your harshest critic: roughly half of a Globe audience is standing, and they've only paid five pounds, so if they don't like something, they can – and do – leave!

The Globe invites live and direct communication with its audience. It also responds brilliantly to declarations of huge shifts in space and time – think of Antony and Cleopatra where we move between Egypt and Rome again and again so swiftly, with nothing more than a different set of characters coming on to tell us that we have changed continent.

And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name.

-  A Midsummer Night’s Dream

The space is the concept. The dramaturgy and structure of the play can be inspired by the necessity and parameters of the stage as much as the narrative that drives it forward. There are no sets, no amplified sound, no black outs – it’s a space that is completely shared with play, player and audience. And above us all is the sky. It’s a vertical as well as horizontal space. It’s mythic and domestic. It’s a tabula rasa that allows for an experiment in form as much as content, and that is a challenge our writers say they love to rise to.

Although Shakespeare himself has popped up in one or two of our new plays over the years, he's not in himself the most interesting subject matter. Shakespeare wrote about Kings and Queens, faeries and myths, fools and twins, but what he really wrote about was the human condition. We want to find our new Shakespeares. Writers with big ideas that speak to a contemporary audience. 

How to develop a play for Shakespeare’s Globe

We don't accept unsolicited scripts, mainly because we're not looking for finished, polished plays. Instead we want to support writers as you develop your plays bespoke to our playhouses.

If you're a writer with an idea for the Globe please don't spend your precious free time writing something without being paid for it! 

Instead send us the pitch, invite us to your shows, or rehearsed readings, or send us scripts you've written in the past, but please do not send us your new plays written for the Globe. Our space is full of ‘airy nothing’ that invites you to speak to it and to fill it with your imagination; all we need is you, your poet’s pen and your big idea.

If you would like to invite us to see your work performed please email us on literary@shakespearesglobe.com. The subject line should read: Invitation/Pitch (New Writing).

Building photography by Clive Sherlock  Emilia and Dark Night of the Soul photography by Helen Murray 

[aliflokta]

[frontmezzjunkies]

Farinelli and the King: The Man and the Singer Heal a Monarch, Majestically.

#frontmezzjunkies reviews: @FarinelliBway #FarinelliAndTheKing #markrylance @ClairevkVan

Farinelli and the King: The Man and the Singer Heal a Monarch, Majestically.

By Ross

It was the summer of 2015, when I found myself standing outside the Duke of York’s Theatre in London’s West End looking at the placard advertising Mark Rylance (Nice Fish, Jerusalem)  in the new play, Farinelli and the King. For whatever reason, (I don’t think it had started just yet) we were unable to see it…

[cloudtales]

‘When is it OK to start blowing things up?’ Mark Rylance on families, Hilary Mantel and climate disaster

‘When is it OK to start blowing things up?’ Mark Rylance on families, Hilary Mantel and climate disaster

‘When is it OK to start blowing things up?’ Mark Rylance on families, Hilary Mantel and climate disaster The actor discusses his new drama at the London film festival, being starstruck by Meryl Streep – and the best way to take environmental actionOn the day that Mark Rylance video-calls from Pittsburgh, where his wife, Claire van Kampen, is directing an opera, the news is dominated by the death…

[misslacito]

The Olivier Awards 2017

The Olivier Awards 2017

El Royal Albert Hall de Londres acogió este fin de semana la entrega de los premios Olivier. Estos son los premios del teatro británico y de todos los que se celebran a lo largo del año, son los más importantes. Básicamente son los Oscar londinenses del teatro. Harry Potter y el legado maldito ha ganado en su categoría como mejor obra nueva. El  actor Anthony Boyle que interpreta a Scorpius…