Читать книгу Tejas Verdes - Robert Shaw B. - Страница 4

Madeleine Potter | THE DISAPPEARED/ THE FRIEND/THE DOCTOR/THE GRAVEDIGGER/THE INFORMER/THE SPANISH LAWYER/THE SOUL IN TORMENT Madeleine's most notable film credits are with Merchant Ivory for whom she has done four films: The Bostonians, in which she starred with Vanessa Redgrave and Christopher Reeve (Best Actress with Vanessa Redgrave, International Film Festival, Delhi), Slaves of New York, The Golden Bowl and The White Countess (starring Ralph Fiennes) released in 2005. Other film credits include Two Evil Eyes directed by Dario Argento, Bloodhounds of Broadway directed by Howard Brookener, The Chosyu Five directed by Sho Igarishi and Red Lights directed by Roderigo Cortes.

Her London stage work includes the acclaimed After Mrs Rochester (People's Choice Best Actress Nominee) in which she starred with Diana Quick, and which won an Evening Standard Award and Time Out Best Play of the Year.

Also in the West End she starred with Macaulay Culkin and Irene Jacob in Madame Melville, All My Sons directed by Howard Davies and Southwark Fair directed by Nicholas Hytner, both for the Royal National Theatre, and An Ideal Husband, with Martin Shaw, directed by Sir Peter Hall.

Madeleine was in the first production of Sarah Kane's 4:48 Psychosis with Daniel Evans and Jo McInnes at the Royal Court, directed by James MacDonald. Madeleine's most recent theatre credits include Electra directed by Carrie Cracknell at the Gate and Latitude Festival, The Internationalist directed by Natalie Abrahami, Mother of Him at the Courtyard by award-winning writer Evan Placey, The Water's Edge at the Arcola and Broken Glass with Anthony Sher at the Tricycle directed by Iqbal Khan.

She has also starred in numerous Broadway productions including An Ideal Husband directed by Sir Peter Hall, The Master Builder (opposite Lynn Redgrave), The Crucible (with Martin Sheen), Getting Married, Steven Berkoff's Metamorphosis (opposite Milhail Baryshnikov), David Hare's Plenty and Slab Boys (opposite Sean Penn, Val Kilmer and Kevin Bacon).

Other New York credits include Eliza Doolittle in Pygmalion, Pegeen in Playboy of the Western World, Nora in The Plough and the Stars, Lady Anne in Richard III (with Kevin Kline) and the premieres of Lydie Breeze, directed by Louis Malle, and Marion in Abingdon Square, written and directed by Irene Fornes. She played Ophelia in Hamlet for Lindsay Anderson at the Folger Shakespeare Theatre and Rosalind in As You Like It at the Williamstown Theatre Festival. Madeleine can currently be seen playing resident Psychiatrist Sharon Kozinsky in BBC's Holby City. She has been heard in many radio plays for the BBC.

From time to time, Madeleine is a teacher in Oxford for the British American Drama Academy and has led workhops for Synergy Theatre Project and at HMP Brixton for the London Shakespeare Workout.

Fermín Cabal | Playwright

Fermín Cabal, born in León in 1948, is one of the generation of Spanish theatre artists who formed the independent theatre movement following the end of the Fascist dictatorship in Spain in the mid-1970s.

In his early career he worked as an actor, director and playwright with such groups as Tábano, Los Goliardos and El Gayo Vallecano. By the end of the 1970s and into the 1980s he became recognised as one of Spain's important new voices in the theatre with his plays Tú estás loco, Briones (You're Crazy, Briones) (1978), ¿Fuiste a ver a la abuela? (Did You Go to See Grandmother?) (1979), ¡Vade retro! (Get Thee Behind Me!) (1982) and Esta noche, gran velada (Big Do Tonight) (1983).

In 1985 Cabal co-authored with José Luís Alonso de Santos Teatro Español de los 80, a collection of interviews with the leading theatre artists of their generation. His next play Caballito del diablo (Dragonfly) came out in the same year and in 1986 he wrote his first film-script, La reina del mate (Checkmate Queen). From 1986 to 1988 he wrote the television series Ramper. In 1990 he returned to the stage with his play Ello Dispara (¡shoot!). This was followed by Entre tinieblas (Dark Habits) (1992), a play based on Pedro Almodóvar's film of the same name, Travesía (Crossing the Line) (1993, winner of the Tirso de Molina and Teatro de Rojas prizes) and Castillos en el aire (Castles in the Sky) (1995).

Cabal has also translated and adapted several English and American plays for the Spanish stage, including David Mamet's American Buffalo, Christopher Durang's Beyond Therapy, Martin McDonagh's The Beauty Queen of Leenane and Terry Johnson's Hysteria.

Among his recent writing have been 24 episodes of the Spanish version of the American sitcom Golden Girls and his versions of Electra (1997, based on the play by Jean Giraudoux) and Medea (1998) both premiered in the Roman theatre at Mérida, for whom he has also written a version of the Agrippina story. In 2005, he directed his adaptation of The Kitchen by Arnold Wesker in Madrid. In the last two years he has published Modern Spanish Playwriting (Dramaturgía Española Actual – interviews with 24 contemporary Spanish playwrights), a biography of Cardinal Tarancón, who headed the Catholic Church in Spain during the transition from dictatorship to democracy in the 1970s, and Dakar-Madrid con Ricardo – a journal of the well-known car rally.

His film Ni piés ni cabeza, about the Spanish police force known as the Guardia Civil, opened in 2012; November 2013 sees the opening of his latest play Un mundo mejor ya está aquí (Brave New World is Here).

Tejas Verdes was commissioned by Aran Dramática, an exiled Chilean theatre company based in the Spanish city of Badajoz, where it premiered in 2002 before its Madrid debut in 2005.

Robert Shaw | Translator and Director

Robert graduated from Cambridge University. In May 1995 he founded Inside Intelligence.

Robert's translation of Fermín Cabal's Tejas Verdes received its UK premiere at the Gate in 2005 with Gemma Jones, directed by Thea Sharrock. It was first performed in a reading at Jermyn Street Theatre in 2002 directed by Robert with Joely Richardson and Patsy Byrne.

Theatre as director includes Happy New (Trafalgar Studios), the British premieres of The Woods (Finborough Theatre) and his own translations of Ana in Love (Hackney Empire) and ¡shoot! (Jermyn Street Theatre). Other theatre includes One God, One Farinelli! (BAC),Three Women (Jermyn Street Theatre, London, Assembly Rooms, Edinburgh and 59E59 Theatre, New York), his own adaptation of Some Gorgeous Accident (Assembly Rooms, Edinburgh), his own adaptation of Up To Now (Edinburgh Festival), Teddy and Topsy (Hill Street, Edinburgh and Old Red Lion Theatre, London), Poem Without a Hero (Edinburgh Festival), As You Like It (Cambridge, Jermyn Street Theatre and Greenwich Festival), The Investigation (Richmond), Inferno XXXIII (Gate Theatre), Reunion (Duke's Playhouse, Lancaster), Tell Me That I'm Dreaming (The Place), Measure for Measure (Chelsea Theatre), The Poker Session and The Ruling Class (Putney Arts Theatre), A Little Night Music (Cambridge), The Hostage (An Giall) (Edinburgh Festival), Waiting for Lefty, Statements after an Arrest under the Immorality Act and Fear (Sir Richard Steele Theatre, of which Robert was joint Artistic Director).

Theatre as assistant director includes Roger Michell's production of Sexual Perversity in Chicago (Sir Richard Steele Theatre) and Keith Hack's production of The Dance of Death starring Alan Bates and Frances de la Tour (Riverside Studios).

Opera includes The Medium and The Lighthouse (BAC), and The Prince and Dutchman (Riverside Studios).

Until recently Robert was the International Representative of the Chekhov Memorial Theatre in Taganrog, Chekhov's birthplace.

Sarah Paulley | Designer

Sarah Paulley started working as a designer at Oxford University where she was supposed to be reading History and went on to postgraduate training at the Motley Theatre Design Course. Throughout the 70s she worked for a range of alternative companies, including Avon Touring and 7:84 England and in 1978 became Head of Design at Theatre Royal Stratford East. Thereafter she combined teaching with freelance design and production management, mainly for site-specific projects. Since 1990 she has lived in Glasgow, and worked in the Tron, the Arches, Tramway and for Bard in the Botanics as well as teaching at the Glasgow School of Art.

Currently she teaches at Queen Margaret University Edinburgh as Lecturer in Scenography and designs shows when she can, most recently Allotment and Threads, both Fringe First winners for Nutshell Productions.

She also runs the summer theatre design course Scenehouse Intro and has a prop and costume warehouse (Theatre Stuff Ltd.) in partnership with Joanna Kennedy.

Conleth White | Lighting Designer

Conleth has been designing lighting in Ireland for some years. Recent work includes Carthaginians, Performances and Translations (directed Adrian Dunbar, Millennium Forum, Derry), the set/lighting/imagery for the 36th (Ulster) Division Memorial committee presentation of From the Shipyard to the Somme in East Belfast, Edna O'Brien’s Country Girls (Red Kettle), Titanic (Scenes from the British Wreck Commissioner's Inquiry,1912), by Owen McCafferty, directed by Charlotte Westenra which opened the Mac in Belfast, The Chronicles of Long Kesh (Tron Theatre, Glasgow, and Tricycle Theatre, London) and I Once Knew A Girl… (Teya Sepinuck, Theatre of Witness, The Playhouse, Derry).

Recently for DLR Glasthule Opera, he has lit and designed imagery for La Traviata, The Magic Flute, Weeping Flowers and The Marriage Of Figaro in the Pavilion, Dun Laoire, Dublin.

For Axis-Ballymun he has designed lighting for six plays by Dermot Bolger: From These Green Heights, The Townlands of Brazil (also in Teatr Polksi, Wroclaw), The Consequences of Lightning, Walking the Road (also in Leper, Belgium), The Parting Glass and Tea Chests and Dreams.

Conleth has lit many plays of Belfast playwright Marie Jones, including Weddings, Weeans and Wakes (Lyric Belfast), Blind Fiddler (Assembly Rooms, Edinburgh), A Night in November (Trafalgar Studio One London), Lay Up Your Ends and HRT (Grand Opera House, Belfast).

Recent site-specific/installations include Green Street in the Green Street Court House (Percolate, Dublin Fringe 12), This is What We Sang in the Belfast Synagogue and 5 in 1 at the Limavady Workhouse (Kabosh). Other site-specific/installation work includes Macbeth in Crumlin Road Gaol, Belfast, (Replay) and The Tempest in Kilmainham Gaol, Dublin (Island), Binlids, a community theatre piece on five stages in West Belfast & Lower Manhattan (Pam Brighton, Dubbeljoint) and Northern Star by Stewart Parker in the First Presbyterian Church Belfast (Stephen Rea, Tinderbox/Field Day).

He toured to Belgrade, Taiwan and Denmark with Big Telly's swimming-pool production of The Little Mermaid. He was involved in the lighting for the NVA Divali, Eid-al-Fitr and Christmas Festivals of Light in the Hidden Gardens, Tramway, Glasgow 2003. He has also lit quite a few fashion shows for the Glasgow School of Art in the Arches, the Fruit Market and the Tramway.

Conleth was involved in the campaigns in Dublin to release The Birmingham Six and Guilford Four. He teaches lighting in Inchicore CFE in Dublin.

Catherine Lewis | Stage Manager

Catherine Lewis graduated in 2011 from the RSAMD with a BA in Technical and Production Arts. Previous productions include Peter Grimes on the Beach and Les Mamelles de Tiresias for Aldeburgh Music, Project Colony, 4:48 Psychosis and Elephant Man for Fourth Monkey Theatre Company and Madama Butterfly for Grange Park Opera.

Alice Kornitzer | Assistant Director

Alice trained at Queen Margaret University, Edinburgh and Bristol University.

Alice has worked with the Berliner Ensemble and toured Europe extensively. Theatre includes Happy New (Trafalgar Studios), Peer Gynt (Berliner Ensemble), The Fever (Theater Unterm Dach), God of Carnage (Landestheater Linz) and Allotment (Nutshell Theatre).

Gillian Argo | Design Assistant

Gillian Argo has just completed her fifth summer with Bard in the Botanics, this year designing Othello and Much Ado About Nothing. Other recent productions include stage design for Snow White at the Byre, adapting her set for Hairy Maclary and Friends for an Australian tour, scenic painting for short fim In Extremis and prop making for Hickory and Dickory Dock. Most recently she was involved in creating The Embassy.

Chris Foxon | Producer

Chris read English at Oxford University and trained at the Central School of Speech & Drama on an AHRC Scholarship.

Theatre as producer includes Happy New (Trafalgar Studios), The Fear of Breathing (Finborough Theatre, transferring to Tokyo in November 2013), The Madness of George III (Oxford Playhouse), I Didn't Always Live Here and Vibrant 2012 – A Festival of Finborough Playwrights (Finborough Theatre), Pilgrims (Etcetera Theatre), Grave Expectations (Compass Theatre, St Albans South Signal Box and South Hill Park) and Old Vic New Voices 24-Hour Plays 2012 (The Old Vic).

Theatre as assistant producer includes Mudlarks (HighTide Festival Theatre, Theatre503 and Bush Theatre), On The Threshing Floor (Hampstead Theatre) and ‘Endless Poem’ for Rio Occupation London (HighTide Festival Theatre and BAC).

Chris is the producer of the award-winning Papatango Theatre Company and New Writing Prize, whose acclaimed productions include Foxfinder by Dawn King and Pack by Louise Monaghan. In 2013 Papatango will develop work with Bristol Old Vic and the Finborough Theatre.

Chris is an interviewer for The Old Vic's T.S. Eliot Commissions.