By Mireia Aragay, Hildegard Klein, Enric Monforte, Pilar Zozaya (eds.)
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En una gélida noche, tan funesta que el viento se vuelve mensajero de terribles presagios, Hamlet, Horacio y tres soldados se reúnen con el propósito de desentrañar el misterio en torno al espectro que ha aparecido en las últimas noches cerca del castillo. Solo hablará con Hamlet, pues esa criatura castigada a vagar por las tierras de Elsinor fue su padre, el último rey de Dinamarca. Su hermano Claudio le traicionó arrebatándole l. a. vida, el trono y su reina. Un terrible crimen que reclama justicia.
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Additional info for British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics
Browne, Playwrights’ Theatre: The English Stage Company at the Royal Court Theatre (London: Pitman, 1975); R. ), At the Royal Court: 25 Years of the English Stage Company (New York: Grove Press, 1981); P. Roberts, The Royal Court Theatre 1965– 1972 (London and New York: Routledge & Kegan Paul, 1986) and The Royal Court Theatre and the Modern Stage (Cambridge: Cambridge University Press, 1999), and I. Wardle, The Theatres of George Devine (London: Jonathan Cape, 1978). 2. Marcos Barbosa is a Brazilian playwright.
I’d rather do that than I would a play with two distinguished actresses in Sydney. What are your plans for the near future? I have no future, only a present and a past. You hope you learn something and that you may get better. When you start as a young director, you clearly are ignorant. You learn from people who are older than you. But the difficulty, as you get older, is that you have to start learning from people younger than yourself. In a way, as a director of new work, you stand more chance of exposing yourself to the work of young people than you do if you stick to the classics.
22 But if you are an oppositional theatre, to raise money is very complicated. 23 That was very hard for me just arriving, but I think we dealt with that very well. In addition, I directed 13 productions of The Weir. I just kept directing it to keep the theatre open. The money we made on The Weir, which began as a tiny little play in a 60-seat venue and ended up playing to a thousand seats on Broadway, kept the Court going until we moved back to Sloane Square, a year and a half late. Of course, having the joy of reopening the theatre, such a beautiful theatre, was a fantastic privilege.
British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics by Mireia Aragay, Hildegard Klein, Enric Monforte, Pilar Zozaya (eds.)