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Libri sul tema "First London Achuza Company"

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Autore: Grafiati

Pubblicato: 25 luglio 2024

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1

Berlin, Michael. A history of the Worshipful Company of Farmers: The first fifty years 1952-2002. Chichester, West Sussex: Phillimore, 2001.

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2

Grand Opera House (London, Ont.), a cura di. Grand Opera House, London, Ont.: Wednesday ev'g, Nov. 30th, 1892, programme : first appearance in London of Ramsay Morris's Comedy Company (from New York), presenting the great Parisian laughing success, Joseph .. [London, Ont.?: s.n., 1986.

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3

Grand Opera House (London, Ont.), a cura di. Grand Opera House, London, Ontario: [programme, Friday, May 11th, first appearance here of Miss Marie Tempest and the Whitney Opera Company in the The fencing master]. [London, Ont.?: s.n., 1986.

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4

Grand Opera House (London, Ont.), a cura di. Grand Opera House: One night only : Monday, Oct. 24, the incomparable Lotta and her superb company : first production in London of the new play, in four acts, Pawn ticket no. 210, written expressly for "Lotta" by David Belasco and Clay M. Greene .. [London, Ont.?: s.n., 1986.

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5

Neill, Edward D. History of the Virginia Company of London: With letters to and from the first colony, never before printed. Brookhaven Press, 2001.

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6

Anglo-American Telegraph Company Limited: First ordinary general meeting of shareholders, Monday, February the 4th, 1867, London Tavern. [London?: s.n., 1986.

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7

Alexander, Brown. First Republic In America: An Account Of The Origin Of This Nation Written From The Records, Then 1624 Concealed By The Council Rather Than From The Histories, Then Licensed By The Crown. Kessinger Publishing, LLC, 2006.

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8

Alexander, Brown. First Republic In America: An Account Of The Origin Of This Nation Written From The Records, Then 1624 Concealed By The Council Rather Than From The Histories, Then Licensed By The Crown. Kessinger Publishing, LLC, 2007.

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9

Neill, Edward D. History of the Virginia Company of London: With Letters to and from the First Colony, Never Before Printed. Creative Media Partners, LLC, 2018.

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10

Edward D. (Edward Duffield) 1 Neill. History of the Virginia Company of London: With Letters to and from the First Colony, Never Before Printed. Creative Media Partners, LLC, 2021.

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11

Edward D. (Edward Duffield) 1 Neill. History of the Virginia Company of London: With Letters to and from the First Colony, Never Before Printed. Creative Media Partners, LLC, 2021.

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12

Grote, David. The Best Actors in the World. Praeger, 2002. http://dx.doi.org/10.5040/9798400617621.

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Abstract (sommario):

Shakespeare knew actors because he was one. The first book-length study of its kind, this volume investigates Shakespeare as a member of his acting company, dating and casting all the plays they presented from 1594 to 1614, and exploring the effects of actors on his writing. Much has been written about Shakespeare and a great deal is known about the Elizabethan theater. Yet little has been done to examine Shakespeare in relation to his acting company. This book casts light on Shakespeare's life in drama and the creation and staging of his plays. More precisely than any other work, it establishes the dates for his company's productions, exploring the varied and profound influences actors had on the works of Renaissance dramatists, and giving us a unique look at the man who knew his actors best of all. As a member of the newly organized Chamberlain's Men, a company that rose to fame in the London theater, Shakespeare experienced the numerous crises, both personal and political, that nearly destroyed the company at the construction of the Globe. Grote describes the company's reorganization as the King's Men, which led to the writing of Shakespeare's great tragedies, as well as the trials of the plague years, Shakespeare's retirement from the stage, the development of writers to replace him, and the burning of the Globe.

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13

Otterbeck, Jonas. The Awakening of Islamic Pop Music. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474490429.001.0001.

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Awakening – an Islamic media company formed in London – has created the soundtrack to many Muslim lives during the last two decades and has produced superstars like Sami Yusuf and Maher Zain, among a host of other artists. As the company celebrates its first 20 years in the industry, the book examines Awakening’s rise to global success and their pop music inspired by Islam. Providing the first thorough description of the history and development of new Islamic popular music genres, in particular pop-nashid and Islamic pop, this book argues that Awakening is best understood in relation to the ethical turn in Islamic thinking. In analysing the turn to ethics, the book explores how the Islamic pop industry is, in effect, altering the very formulations of Islamic thought. Closely examining the ethical masculinity of the Awakening artists, alongside their personas in songs, on stage and via social media, the book analyses how popular culture and the creative arts challenge and help change Islamic (re)thinking. The author has been on tour with Awakening artists, analysed the media output by the company and interviewed artists, the Awakening founders, video directors and other key people in the business.

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14

Wells, Stanley. 2. Theatre in Shakespeare’s time. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198718628.003.0002.

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Both drama and theatre were developing rapidly in Shakespeare’s early years. ‘Theatre in Shakespeare’s time’ explains how Shakespeare followed in the footsteps of the first great wave of stage writers known as the University Wits—John Lyly, Thomas Lodge, Christopher Marlowe, George Peele, Thomas Nashe, and Robert Greene—learning from them and collaborating with them. It describes the London theatrical scene, the playing spaces, and the actors of the time before outlining Shakespeare’s early career, the narrative poems that kept him afloat financially, and introducing the Lord Chamberlain’s, and later King’s Men, the acting company that formed in 1594.

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15

O’Dea, Geoff, Julian Long e Alexandra Smyth. Schemes of Arrangement: Law and Practice. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199665921.001.0001.

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This new guide to schemes of arrangement draws together all of the elements of the law and practice concerning both creditor and member schemes. Member schemes of arrangement have become the preferred method of implementing takeovers in the UK. Creditor schemes of arrangement are increasingly used in restructuring matters and the trend in their usage in foreign companies is likely to continue as many credit documents across Europe are arranged and underwritten in London under English law. The book considers the effect given to an English scheme in foreign jurisdictions, and other Private International Law issues. A major issue for those considering a scheme for creditors is whether a scheme or CVA (Company Voluntary Arrangement) is more appropriate and this book assists the reader by including an analysis of the pros and cons of schemes and CVAs. There are very few sources of information on schemes of arrangement and the area takes much of its substance from case law. This book, addressing the law and practical issues faced by practitioners on a day-to-day basis, is a first in the field.

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16

Brook, Peter. Peter Brook: Threads of Time. Methuen Drama, 1998. http://dx.doi.org/10.5040/9781350058408.

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"First there was the master conjurer adept at musicals, farces, opera and Shakespeare. Then there was the philosopher-king … who has devoted his energies to a quest for a theatre that was simple in form and rich in meaning." - Michael Billington The theatre's greatest contemporary director tells the story of his life. Peter Brook was the modern stage's greatest inventor. For over 50 years he held audiences spellbound with his critically acclaimed productions. This is his account of his life. Born in 1925 in London, at 21 Brook became the enfant terrible of British theatre, directing major post-war productions of Shakespeare at Stratford-upon-Avon, opera at Covent Garden and new plays in London's West End. He even made films. In 1964 he produced Peter Weiss's Marat/Sade for the RSC and his whole approach to theatre became radicalised. Throughout the 1970s and 1980s Brook began exploring the roots of non-Western theatre which once again changed his view of what theatre could be for actors and audiences. His journey took him to Paris where he founded a company at the Bouffes du Nord theatre. Brook's autobiography charts all the stages of his aesthetic and spiritual journey, and touches on all parts of a career that has been widely reported but never previously talked about from his personal perspective.

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17

Johanson, Tim. The Accidental Producer. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350338364.

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Abstract (sommario):

A practical guide to small-scale theatre producing, focusing on exactly what is required to make your show a success. It recognises that smaller-scale fringe theatre works differently from the commercial or subsidized sectors, and offers advice on how to embrace that. It also recognises that not everyone producing has set out to be a producer - most begin in a different role entirely. The problems it helps solve are simple: how do you make your first show a success? And, after that, how can you make your second and third a little bit better? Written by an experienced theatre producer, who has worked on over 20 small-scale shows across London, Edinburgh, the UK and in New York, this book is aimed at people who are wanting to get their show on, but are coming to it for the first time. Readers might be creatives with a singular interest in producing, or they might be directors, actors, designers or stage managers who haven't considered producing as a career, but aren’t getting the jobs they want and have the passion and drive to make the work happen themselves. Mirroring in its structure the 3 stages of producing - producing itself, general management and selling the show, the book answers conundrums such as: How do I find the perfect script? How will I pay for the production? Does it matter that I know nothing about company law, VAT and hiring? How can I get people to come and see the show? Alongside the author's own experience, it includes input from experts in their field including Jez Bond (Artistic Director of Park Theatre, London) and Chloe Nelkin (founder and director of Chloe Nelkin PR) and from first-time producers, including Kevin Shen (Special Relationship Productions), whose first show on the fringe transferred to the National Theatre. Fundamentally, this much-needed book doesn’t just show how to make it happen: it shows why you should and how to make it the biggest success it can be. The book's liberating message is that it is perfectly possible for absolutely anyone to produce a show.

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