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This title features a wonderfully evocative collection of portraits of some of the greatest stars of 20th century British theatre. The photography of Angus McBean encompasses more than three decades of the history of British theatre. His work includes some of the most memorable theatre productions of the Old Vic Company and what is now the Royal Shakespeare Company; opera productions at Glyndebourne and the Royal Opera House, Covent Garden; ballet from Sadler's Wells; and West End productions of plays and musicals. He was a favourite photographer of Vivien Leigh, Lourence Olivier, and Edith Evans. He photographed countless plays starring the likes of John Gielgud, Ralph Richardson, and Alec Guinness, not to mention young stars such as Audrey Hepburn, Richard Burton, and Elizabeth Taylor. This sumptuously illustrated volume features 120 evocative images - reproduced from McBean's original negatives - of some the greatest stars of Twentieth-century British theatre.
The Last Bohemian offers the first extended, critical evaluation of all of Brian Desmond Hurst’s films, reappraising the reputation of a director who was born in 1895 in Belfast and died in Belgravia, London, in 1986. Pettitt skillfully weaves together film analyses, biography, and cultural history with the aim of bringing greater attention to Hurst’s qualities as a director and exploring his significance within Irish film and British cinema history between the 1930s and the 1960s. The director of Dangerous Moonlight (1941), Theirs Is the Glory (1946), and his best-known Scrooge (1951) made most of his films for British studios but developed an exile’s attachment to Ireland. How in the early twenty-first century has Hurst’s career been reclaimed and recognized, and by whom? Why in 2012 was Hurst’s name given to one of the new Titanic Studios in Belfast? What were his qualities as a filmmaker? To whose national cinema history, if any, does Hurst belong? Richly illustrated with film stills and other visual material from public archives, The Last Bohemian addresses these questions and in doing so makes a significant contribution to British and Irish cinema studies.
An exploration of the ways in which Restoration comedy was performed, using the costume, customs, manners and behaviour of the age as a way of understanding its theatre and drama. It also considers problems encountered in early twentieth century revivals of plays by authors such as Etherege, Dryden, Congreve and Farquhar.
Facemaker is the first full-length biography of Angus McBean, one of the most influential photographers of the 20th Century, whose surreal and romantic portraiture of iconic film stars and musicians is still imitated throughout the world in fashion images and pop videos. Drawing from a multitude of direct sources and recorded interviews, Adrian Woodhouse tells the authoritative, unexpurgated story of McBean’s dramatic life, from his humble origins in South Wales to his arrest, trial and imprisonment during World War II for homosexuality; from his rise, fall, and resurgence in the world of photography to his final years in Suffolk. Full of scandal and controversy, and rich with previously untold anecdotes and revelations about his famous subjects like Vivien Leigh, Laurence Olivier, Maria Callas, and the Beatles, Facemaker provides the private and the official portrait of a man who helped define the look of an age.
The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.
Cecil Beaton called him the best photographer in Britain; Lord Snowdon declared him a genius. It is no exaggeration to say that Angus McBean revolutionized portraiture in the 1930s, or that he immortalized the likes of Audrey Hepburn, Marlene Dietrich, and Elizabeth Taylor. Blending wit, drama, and fantasy with the consummate skill of a master photographer, McBean was the most prominent theater photographer of his generation and, along with Beaton, the last of the British avant-garde studio photographers. For the first time since his death in 1990, McBean's photographs of stars such as Vivien Leigh, Peggy Ashcroft, Laurence Olivier, John Gielgud, and Audrey Hepburn and his rarely seen color prints from the 1960s of the Beatles, Maria Callas, and Shirley Bassey are brought together in this fascinating book. Terence Pepper's intriguing account of McBean's life and work includes extracts from the photographer's unpublished autobiography. Terence Pepper is curator of photographs at the National Portrait Gallery in London. He is the author of The Man Who Shot Garbo: The Photographs of Clarence Sinclair Bull, High Society: Photographs 1897-1914, and monographs on Lewis Morley and Dorothy Wilding.
Published in collaboration with the Victoria & Albert Musuem, Played in Britain: Modern Theatre in 100 Plays explores the best and most influential plays from 1945 to date. Fully illustrated with photos from the V&A's collections and featuring a foreword by Richard Griffiths O.B.E., the book provides a sumptuous treat for theatre-lovers. It was awarded the 2014 David Bradby Award for research by the Theatre and Performance Research Association. Opening with J. B. Priestley's classic play from 1946, An Inspector Calls, and ending with Laura Wade's examination of class privilege and moral turpitude in Posh over sixty years later, Played in Britain offers a visual history of post-war theatre on the British stage. Arranged chronologically the featured plays illustrate and respond to a number of themes that animate post-war society: censorship and controversy; race and immigration; gender and sexuality; money and politics. An essay on each period first sets the context and explores trends, while the commentary accompanying each play illuminates the plot and themes, considers its original reception and subsequent afterlife, and finishes by suggesting other plays to explore. Photographs from the V&A's extensive collection illustrate each play, providing further insight into stage and costume designs, and include iconic images from the premieres of major plays such as Waiting for Godot and Look Back in Anger. Illustrated throughout with stage production photography, Played in Britain: Modern Theatre in 100 Plays presents a unique and visually stunning panorama of key dramatic works produced in Britain over the past seventy years. From An Inspector Calls to The Rocky Horror Show, or Abigail's Party to Waiting for Godot, fresh light is thrown on the impact, aesthetics and essence of these key plays.
The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.