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(wow) Words Of Wonders Level 2411 Answers – The Shakespeare Theater Association (STA) was founded in 1991 as the Shakespeare Association of America by Sidney Berger, then founding director of the Houston Shakespeare Festival, and Douglas Cook, then founding director. management for the Utah Shakespeare Festival. The idea is to create a forum where artistic directors, actors and directors can meet and discuss the challenges and opportunities for theater companies focusing on Shakespeare . As the organization expanded to include international organizations, the name was changed to its current form in 2011. Despite this international change in focus, the annual STA conference in North America has always been held with one different – Stratford-upon-Avon and London in 2000. Until now, that is.
This year, Guy Roberts, Artistic Director of the Prague Shakespeare Company and recipient of STA’s first Sidney Berger Award in 2014, managed to persuade them to cross the pond and come to Europe, i.e. Prague, Czech Republic. The motto of the conference is “The world is elsewhere” (alk
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) is not a call for STA to wait until 2019 to try Europe, but an indication of the intention of this conference. Roberts moved more into the artistic side of the theater and offered an informal performance program, open to the public and visitors for the first time in STA history. There are three presentations before the conference.
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WINNING POWDER – a puppet show for adults with classical dolls based on the stories of the Czech existentialist/subjective idealist philosopher and writer Ladislav Klíma.
HAMLETS (Hamelti) – a very successful experimental adaptation of the famous tragedy, in which there are seven Hamlets (six men and one woman).
CREMATOR – based on the story of Ladislav Fuks, after which he made a very successful film in 1969.
MUCH FOR NOTHING (Mnoho povyku pro nic) – Czech adaptation of Guy Roberts’ 2015 production of Shakespeare’s comedy, designed for radio broadcast in a London bomb shelter during the Blitz, with “soldiers” and “nurses” in various occupations. There was a group that did sound effects instead of a radio program. Sometimes there is danger. The entire program was simultaneously broadcast online for a classic radio experience.
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CRY HAVOC – A one-man play by actor/director/writer Stephan Wolfert that shows how Shakespeare keeps his mind after he returns from six years in the US Army and uses the Shakespeare’s research on veterans and war to help veterans with PTSD. changes in civil life.
EVIL GENIUS: HOW SHAKESPEARE FOUND THE VILLAIN – a one-man show developed by Broadway actor Patrick Page that examines the development of the villain in Shakespeare’s works over time and of this work we see the birth of new ideas. bad
A special feature of Sir Kenneth Branagh’s latest film, ALL IS TRUE, looks at a version of Shakespeare’s last days.
Patrick Doyle: SHAKESPEARE IN CONCERT – an evening of music composed by award-winning composer Patrick Doyle, who wrote mainly for the Kenneth Branagh films. The music you play
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Directed by Dirk Brosse, members of the Prague Shakespeare company and fellow Czech visiting actors and artists.
Cinemas all year round, so you’d be forgiven for thinking that most people would miss these shows in order to sample the world’s best beer and explore the city of over 1,000 year. It’s really good to attend every event – both by conference teams and the general public.
The places where these activities are done are well chosen. The first three, which are part of the first conference, are located (typically) in Švandov divadl, a theater founded in 1871; Divadlo Na zábradlí (theatre on the wall), Václav Havel’s former stomping grounds; and the Stavovské Divadlo (Estate Theatre), where Wolfgang Amadeus Mozart made his debut
, or “theaters” – a term for “proper” or “official” theaters that have more impact than a small underground theater (think Gershwin or Music Box in New York, or the Palladium or Royal Drury Lane in London). The participants were able to see an example of Czech puppetry (modern puppets, especially for adults, a Czech innovation), based on the works of a Czech author, a postmodern interpretation of Shakespeare’s classics, and the great evolution of Czech puppetry. a story that gives insight into the Czech way of thinking.
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At the beginning of the conference, people went to the Bez zábradlí Theater (Theatre Without Rails), the country’s first private theater since 1989 and where Václav Havel and friends actually conducted the Velvet Revolution. Then the performance moved to Divadla Na Prádle (which roughly translates as a theater in a laundry). the basement of a multifunctional neoclassical building. Here, two independent works are performed in English in an underground theater. The project moved to the nouveau cinema Kino Lucerna, located in the house of Václav Havel’s grandfather from 1907. And finally, back to the Estates.
It is a tour of the various stages of Czech theater from the 18th century to the present day. It’s a great way for STA attendees to get a first-hand look at Prague’s diverse history and architecture, unlike anything you’ll find in North America. Prague is a theater city – there are hundreds of small venues scattered around, sometimes in the most surprising places (like apartments, pubs, etc.) And while the actors in New York, for example. 90%, professional tools on the Platforms
When he looked at the artistic side of theater at the 2019 STA conference, Guy Roberts reminded us of something important. The power of theater lies in what it is – storytellers tell people. STA engages businesses of all sizes and budgets worldwide. What will you take away from this program?
Although the United States has many small theaters, Broadway is the holy grail of the theater world. In an attempt to compete with films with low production costs and big business (about 600 films are produced in the US alone in one year), Broadway has created the biggest and biggest shows in wow the audience.
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There is always a connection between literature, live theater and film. In the past, the most common path was from a book or story to a play to a movie. Today, it is useful to reverse this process by using movies as a basis for games and music. Movies have become a staple in big theaters. Coming soon are adaptations of “Beetlejuice,” “Tootsie,” “Moulin Rouge,” “13 Going on 30,” “17 Again,” “The Bodyguard,” “Bull Durham,” “Diner,” ” The Flamingo Kid.” seen on Broadway. “,” Magic Mike”, “Mrs. Doubtfire,” “The Preacher’s Wife” and “Some Like It Hot.” Nearly a quarter of new Broadway shows in the next two years will be based on movies. “”King Kong” and “Network” and many other songs from the past years.
Despite the high cost, Broadway is cheaper than Hollywood blockbusters. WICKED cost about $17 million, THE LION KING about $27-28 million, the most expensive of all time, and SPIDER-MAN: TURN OFF THE DARK only $79 million . These amounts are small compared to film budgets, which today typically run into the hundreds of millions. However, Broadway tickets are more expensive than theater movie tickets. Today, for the very low price of a movie ticket (or cell phone or streaming service subscription), people can travel to other galaxies and other times, to see the Fight with thousands of soldiers, or watch players survive and go on adventures. cinematic wonders and streaming on demand. How does drama compete with all that?
Let’s look at some numbers. According to research by Nielsen Scarborough, approximately 73.5 million Americans attended a live performance event in 2013 with an average spend per customer of less than $61. Broadway in New York brings in about $1.7 billion a year. That same year, the movie industry grossed $10.8 billion, and the average ticket was $8.13. That’s a big difference, and the big theaters are feeling the pressure to come up with a new idea so that people can spend their time and money with them.
What does this mean for small theaters? The challenge is not just keeping up with the current crowd, but it
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