#W Lloyd Warner (book)

[accuratepicuresofanthropologists]

Alfred Brown, from Stocking’s Functionalism Historicized. 

A.R. Radcliffe-Brown is the only anthropologist I know of who had a signature cocktail. He called it the ‘Claire de Lune’: one one-third gin, one-third kirsch, one sixth lemon juice and one sixth orgeat. (Stocking, “Radcliffe-Brown’s receipts: the nomothetic of everyday life, p. 10 in HAN 5(1) 1978.) Radcliffe-Brown’s eccentricity did not stop there. He spent his entire life cultivating the air of the sophisticated bohemian, affecting “a cloak and opera-hat on inappropriate occasions” (Kuper Anthro and Anthros 1st ed. 41).  He “had even thought out the best position in which to sleep,” recounted one admirer, “Not on the back, not whole on the side, and not like a foetus.” (Watson, But to what purpose, p. 63).

'Cultivated’ is the right word for it. He was born Alfred Brown, ‘A.R. Radcliffe-Brown’ being the hyphenated personality he concocted over the course of his life. There were “so many other Browns in the world” (Stocking After Tylor, 304) he remarked, that it seemed only fair to change his name. Most people called him R-B, while his friends called him ‘Rex’. The larger than life mystique he developed for himself was half English aristocrat and half Paris savant and definitely a conscious project of self-creation.

In fact, Alfred Brown was born in 1881 “of undistinguished Warwickshire stock” (Stocking, After Tylor 304). His father died when he was five, leaving his family penniless. R-B lived with his grandparents and soon found success through study, earning a scholarship to Cambridge in 1901, where he was first exposed to anthropology. In 1898 the university had sent a large, interdisciplinary team of researchers to the Torres Straits, the narrow body of water separating Australia and New Guinea. Very little was known of the area at the time, and Torres Straits expedition, as it was known, investigated both sides of the straits, using what were then the latest techniques in the new fields of anthropology, psychology, and linguistics. The main members of the team for our purposes here were W.H.R. Rivers, A.C. Haddon, and C.G. Seligman. Seligman would move on to the LSE and be a teacher of Malinowski, but the others continued their association with Cambridge, forming a ‘Cambridge School’ of anthropology. This was the version of the discipline that Radcliffe-Brown would encounter in his student days.

Brown earned his degree at Cambridge in 1904 and obtained another Cambridge-sponsored grant to conduct research in the Andamans, an isolated chain of islands between what is now Myanmar and India. The islands were seen by the British as one of the many last bastions of unexplored primitivity they could explore, featuring in the popular 1890 Sherlock Holmes story The Sign of the Four. For most of the 19th century the British used it as a harbor for ships moving between India and Burma (then both under British control) and as a prison. When Radcliffe-Brown visited the island its “negrito” were seen as the lowest form of life in Asia, perhaps possibly related to African pygmys. Today, the evidence suggests they are genetically related to Malaysian people and strongly resisted British forces, who ‘pacified’ the region violently and used its prison to isolate and incarcerate Indian activists striving for independence.

It turns out Radcliffe-Brown was not much of a fieldworker. Although he describes himself as having spent the years 1906 to 1908 in the Andamans, most of his actual fieldwork involved ten months of research at Fort Blair, the British military outpost, where he interviewed nearby Andamanese in an attempt to reconstruct their ‘primitive’ social organization as it existed before the arrival of the British. He gave up working in the other, less colonized islands because it would have involved spending years learning the language. “I ask for the word ‘arm’ and get the Önge for ‘you are pinching me’,” he wrote. [this from Stocking, After Tylor 306-307].

In 1908 he returned to Cambridge. His fieldwork was only a partial success, but he had done it, and he won a fellowship at Trinity. He spent the next several years lecturing in England at the LSE, Birmingham, Cambridge, and other places. It was during this period that Radcliffe-Brown undertook another bout of research between 1908 and 1910, this time in Australia. Australia was seen as a particularly good place to do research because Aboriginal people were viewed as especially primitive remainders of human nature in the raw. Radcliffe-Brown’s expedition again got mixed results. He was paired with Daisy Bates, a now-famous female explorer, but they quarreled. Radcliffe-Brown got a sense of Australian colonialism when a ceremony was broken up by white settlers seeking to arrest Aboriginal people. Radcliffe-Brown ended up hiding them in his tent. 

During his lectureships in England from the period of 1910 to 1914 Radcliffe-Brown continued to shape his own views. His Francophilia grew, as he discovered the work of Emile Durkheim and, especially, Marcel Mauss. Mauss corresponded with Radcliffe-Brown and Radcliffe-Brown began to see Durkheimian sociology as a novel and powerful theoretical form that could be applied to the nascent theories of ‘primitive’ social organization developed by Rivers. In 1914 he hyphenated his named, becoming finally A.R. Radcliffe-Brown.

R-B in Australia in 1928

In 1914 he attended the same conference in Australia as Malinowski, and like Malinowski he found himself stranded without funds when World War I broke out. Too old to enroll in the war (he was in his early thirties when it began) or get back home, and out of money, he took up a job at a grammar school in Sydney and eventually got a position as Director of Education for Tonga [After Tylor 324]. He tried mixing in a bit of fieldwork but was again frustrated by the need to learn a local language and spend a significant amount of time in the field. After the war, in 1919, he contracted tuberculosis and went to go live with his brother in South Africa.

In 1921(?) Radcliffe-Brown was appointed to the inaugural chair in anthropology at the University of Cape Town. He was not an active fieldworker in Africa, but used teaching as an opportunity to develop his own theories of social organization. These were most clearly on display in his 1922 book Andaman Islanders, in which he took ethnography from his earlier fieldwork and analyzed it using the framework he had learned from Mauss and Durkheim. But R-B became best known not for his book but for his essays, written versions of his lectures in which he expounded his systems of thought with great clarity. He used these essays to break with historicism, which he associated not with a scrupulous Boas particularism, but with a conjectural history which explained ‘primitive’ societies in terms of survivals.

How did Radcliffe-Brown envision the relationship between politics and the academy while in South Africa? Importantly, he looked at South Africa in a politically progressive way as a single society composed of different groups, rather than two different ‘cultures’ or ‘races’ meeting. This latter position was politically conservative in the South African context and played into apartheid discourses of the necessity of separate spheres for black and white, and ‘preserving’ African culture by denying Africans western education and restricting them to ‘tribal’ territories. That said, Radcliffe-Brown was hardly an activist. He believed in pursuing anthropology as a pure science - what we might call today ‘basic research’ — and did not believe it should be sullied with applied work, despite the fact that it offered, he claimed, objective truths about the social situation which administrators and politicians did not have access to. Rather, he used anthropology’s Pure Scientific Knowledge to criticize government policy which was uninformed by his insights. This stance was offered both relevance but also distance, and is a position which many anthropologists have taken from the safety of their ivory towers.

After five years at Cape Town, Radcliffe-Brown took up another inaugural chair in anthropology (support for which came from Orme Masson, an influential Australian professor and also Malinowski’s father-in-law), this one at the University of Sydney. Being at Sydney gave Radcliffe-Brown the ability to influence who was doing fieldwork not only in Australia, but in much of the southwest Pacific, including New Guinea. The position was supported by the Rockefeller Foundation, whose sought to provide training in anthropology to colonial officers serving in New Guinea and elsewhere in the Pacific. The results were mixed. Radcliffe-Brown’s structure functionalism was inherently conservative: since every institution in a society had a function, any change to the structure would be pathological. This was not the news that colonial authorities wanted to hear, since their goal was to change the societies they encountered, both for humanitarian reasons and for profit.

R-B around 1930, via an earlier tumblr post.

In 1931 Radcliffe-Brown moved again — this time to the University of Chicago. Chicago was the first place where he had taught in which he was not creating an anthropology program from scratch. Indeed, it was the first country in which there was already a well-developed and active program of anthropological research. As we have seen, in the pre-professonial days, anthropology was dominated by east coast departments such as Harvard, Yale, Penn, and Columbia, each of which were centers of intellectual life for each state they were in, and attached to a museum. Chicago was an upstart, the major academic power in the American midwest, and richly funded by Rockefeller money when it opened in 1890. The older, east coast departments emerged out of an English tradition derived ultimately from Oxbridge. Chicago was designed as a pure research university in the German tradition — ‘the college’, as it was called, was tacked on to the ‘university’ which granted higher degrees. Anthropology’s foothold at Chicago was established by Frederick Starr, one of the most ultra-creepy and deeply racist anthropologists I’ve run across. He was replaced in 1924 by Faye Cooper Cole, a Boasian who was an able administrator whose goal was to build up the department by importing talent. He first hired Edward Sapir, the best Boasian available given that Kroeber was at Berkeley. In 1929 anthropology became a separate department from sociology. In 1931,When Sapir left, Cole looked for his next star and found Radcliffe-Brown.

Radcliffe-Brown helped put his unique spin on Chicago, a place which in its midwest isolation was already developing its own unique style. Radcliffe-Brown’s ahistorical ‘functionalism’ was different, he claimed, than the ‘historical’ school of the Boasians. He developed the study of North American kinship systems — which ended up being far more complicated than he had thought — and produced a generation of students who, along with Sapir-trained Robert Redfield and R-B’s old friend and student W. Lloyd Warner, would shape the department in the future.

Perhaps this is a good place to mention Radcliffe-Brown as a mentor. His global peregrinations prevented him from creating a circle of dedicated students the way Mauss, Boas, and Malinowski did. This lack of a Radcliffe-Brown ‘school’ was not just the result of his travels, but also seemed deeply ties to his character. By his time in Chicago in the 1930s, Alfred Brown had transformed himself into A.R. Radcliffe-Brown, a glittering Svengali of anthropology. He appears not to have had much of a private life, and was married and divorced early in his life. He did not have messy love-hate relationships full of intense and ambivalent relationships with his students as Malinowski did, nor was he a family man the way Boas was. He cultivated awed disciplines who adhered unquestioningly to his beautiful theories. Most of his career focused on teaching undergraduates, and his speciality was the lecture. As someone once remarked (Gluckman iirc), he has trouble teaching graduate students because he had already taught them his entire system at the lecture. At Chicago he had students he worked closely with, such as Fred Eggan, but he did not found a school. Rather, he was one more influence in a rich mix of intellectual currents. [drawing on Stocking’s chapters in After Tylor]

An elderly R-B, probably from his Oxford days, via the Pitt-Rivers.

Radcliffe-Brown’s day finally arrived in 1936. R.R. Marett, the reader of anthropology at Oxford, was going to retire, so All Souls (a wealthy college) agreed to food the bill for a professorship in anthropology, mostly, apparently, to avoid being taxed by the university during the depression, when wealthy and ancient colleges like All Souls maintained embarrassingly plush balance sheets. at a time when others struggled. Malinowski was first offered the position, but was happy in London, and Radcliffe-Brown was selected to fill the position [drawn from ch. 3 and 4 of Riveiere’s Oxford Anthropology]. This was an important turning point for anthropology in the UK — for the first time, the ‘functional revolution’ had a firm hold at Oxbridge. 

Malinowski was Radcliffe-Brown’s frenemy, united with him against the older anthropology but sparring for funds to create the new anthropology. In the 1930s they had jousted for control of Rockefeller money, and students moved in and out of their orbits. Malinowski’s massive two volume 1934 ethnography Coral Gardens and Their Magic set new records for empirical detail but seemed to offer little in terms of the new objective Science of Man that Malinowski promised his funders (“I know a lot about yam growing after reading it, I can tell you,” Quipped Godfrey Wilson [Fires Beneath loc 2093]. Radcliffe-Brown, on the other hand, had a genuine theoretical system. For the more discerning English anthropologists, such as E.E. Evans-Pritchard, he offered a much more British and drama-free environment than Malinowski. Friday pub nights with Max Gluckman, Evans-Pritchard, and Meyer Fortes helped endear Radcliffe-Brown and his social systems to some of the most up and coming anthropologists of the next generation [Riviere, Oxford Anthropology, p. 90].  In an unusual twist of fate Malinowski left for America on a speaking tour in 1938, only to be stranded there by the outbreak of World War II. He would never return. Oxford was now the center for the new anthropology.

R-B did not impress Oxford as he had Capetown and Sydney. His larger-than-life bohemian personality seemed pushy and arriviste in an institution which had valued conformity and tradition for literally a thousand years. Marett had advocated for what we might call a “four-field” approach in anthropology, including physical anthropology and archaeology, with a focus on museum collections (in this case, the Pitt-Rivers museum). Oxford, like Cambridge, was still focused on undergraduate teaching. Radcliffe-Brown, drawing on Malinowski’s success at the LSE, tried to transform Oxford into a center for graduate education. But the LSE was a new institution, with strong top-down leadership (whose ear Malinowski had) and a willingness to innovate. Radcliffe-Brown was unable to move conservative Oxford, and his innovations were seen by the existing community of anthropologists as a threat, ‘disaster’ as Beatrice Blackwood called it. His various attempts to get external funding, or move internal college and university funding were also unsuccessful. He requested that the anthropology department be turned into an ‘institute’, a request which the university did not approve. He simply changed the name on the door and printed new business cards! Eventually, the change was accepted. The depression no doubt didn’t help but neither, likely, did his personality — he lacked the tact and charm of Firth and Malinowski.  [Mills in History of Oxford Anthropology].

The elderliest R-B, from his Oceania obituary.

Worse, World War II altered British national priorities in important and unforeseen ways. Radcliffe-Brown was 55 when he was hired at Oxford — just in time to watch students empty out of the university and into the military. He eventually left as well, spending the second half of the war in Brazil, trying to start an anthropology program in Sao Paolo. When the war was over so was his career: He retired in 1946 at the age of 65 (the standard year of retirement). During the war he had dreamed of returning to the United States, but bounced around in Egypt and South Africa (partially seeking drier warmer climates since, as he told Warner, he could not live in Britain in the winter any more) before settling in London. He died in 1955.

#Oceania (journal) #Functionalism Historicized (book) #A.R. Radcliffe-Brown #anthropology #portrait #pitt-rivers museum #W Lloyd Warner (book)

[directedbychuckjones]

Model sheet for “Kiss Me Cat”, 1953, based on drawings by Chuck Jones.

A Looney Tunes release opening in theaters on February 21, 1953. Directed by Charles M. Jones; Story by Michael Maltese; Animation by Lloyd Vaughn, Ken Harris, and Ben Washam; Layouts by Maurice Noble; Backgrounds by Philip DeGuard; Voice characterizations by Mel Blanc and (uncredited Bea Bernaderet); Musical Direction by Carl W. Stalling.*

*Eternal gratitude to Jerry Beck and Will Friedwald for their indispensable Looney Tunes and Merrie Melodies, A Complete Guide to the Warner Bros. Cartoons, a book no cartoon fan should be without.

#Chuck Jones #artists on tumblr #Jerry Beck #Will Friedwald #Marc Anthony #Pussyfoot #Kiss Me Cat #cartoons #Looney Tunes #merrie melodies #classic animation

[swhayward]

Tammuz The Antichrist and Merry Antichristmas The truth, John 17:17 Sanctify them through thy truth: thy word is truth. Who is Tammuz... Artificial Jesus Christ, we call the antichrist. Jesus Christ is real and Tammuz is fake. Write To Us:[email protected] Youtube:  https://youtu.be/G6R0Hvnrd7ISoundcloud:  https://soundcloud.com/allaboutthetruth/tammuz-the-antichrist-and-merry-antichristmasReferences-                    Wikipedia, the free encyclopedia cuneiform:𒌉��𒉺𒇻; Sumerian, Black & Green 1992, ., Jacobsen 2008, ., Ackerman 2006, , Simons 2017, p., Cyrino 2010, , Detienne 1977., van der Toorn, Becking & Willem 1999, ., Kramer 1970., Nemet-Nejat 1998, ., Pryke 2017, ., Wolkstein & Kramer 1983,, Leick 2013, Tinney 2018; Penglase 1994; Warner 2016, Middlemas 2005, Smith 2002, Middlemas 2005, van der Toorn, Becking & Willem 1999, West 1997, Kerényi 1951, Cyrino 2010, Burkert 1985, Detienne 1977, Fuller, 1864, Parpola 2004, Ehrman 2012, Barstad 1984, Eddy & Boyd 2007, Mettinger 2004, Taylor 1993, Baring & Cashford 1991. Cragg 1991, de Azevedo and Stoddart, 2005, ©2020 Encyclopædia Britannica, Inc., Ancient Origins © 2013 – 2020, © Mary Jo Sharp 2007, Creative Commons Attribution-ShareAlike License., BibliographyThe Book The Two Babylons by Alexander Hislop follows the history of the Babylonian mystery cult from Nimrod down through the different cultures to our present era., S.E, Titcomb, Aryan Sun-myths, the Origins of Religions., ©2020 Encyclopædia Britannica, Inc., Cragg, Kenneth (1991), The Arab Christian: A History in the Middle East, Louisville, Kentucky: Westminster John Knox Press, ISBN 9780664221829, Baring, Anne; Cashford, Jules (1991), The Myth of the Goddess: Evolution of an Image, London, England: Penguin Books, ISBN 978-0140192926, cTaylor, Joan E. (1993), Christians and the Holy Places: The Myth of Jewish-Christian Origins, Oxford, England: Oxford University Press, ISBN 978-0-19-814785-5, Mettinger, Tryggve N. D. (2004), "The "Dying and Rising God": A Survey of Research from Frazer to the Present Day", in Batto, Bernard F.; Roberts, Kathryn L. (eds.), David and Zion: Biblical Studies in Honor of J.J.M. Roberts, Winona Lake, Indiana: Eisenbrauns, ISBN 978-1-57506-092-7, tEddy, Paul Rhodes; Boyd, Gregory A. (2007), The Jesus Legend: A Case for the Historical Reliability of the Synoptic Jesus Tradition, Grand Rapids, Michigan: Baker Academic, ISBN 978-0801031144, Barstad, Hans M. (1984), The Religious Polemics of Amos: Studies in the Preaching of Am 2, 7B-8; 4,1-13; 5,1-27; 6,4-7; 8,14, Leiden, The Netherlands: Brill, ISBN 9789004070172, Ehrman, Bart D. (2012), Did Jesus Exist?: The Historical Argument for Jesus of Nazareth, New York City, new York: HarperCollins, ISBN 978-0-06-220644-2, Parpola, Simo (2004), Assyrian Identity in Ancient Times and Today (PDF), Helsinki, Finland, Detienne, Marcel (1977) [1972], Les jardins d'Adonis, translated by Lloyd, Janet, Hertfordshire, England: Harvester Press, W. Atallah, Adonis [a-done-is] dans la littérature et l'art grecs, Paris, Burkert, Walter (1985), Greek Religion, Cambridge, Massachusetts: Harvard University Press, ISBN 978-0-674-36281-9, Cyrino, Monica S. (2010), Aphrodite, Gods and Heroes of the Ancient World, New York City, New York and London, England: Routledge, ISBN 978-0-415-77523-6, Kerényi, Karl (1951), The Gods of the Greeks, London, England: Thames and Hudson, ISBN 978-0-500-27048-6, West, M. L. (1997), The East Face of Helicon: West Asiatic Elements in Greek Poetry and Myth, Oxford, England: Clarendon Press, p. 57, ISBN 978-0-19-815221-7, Black, Jeremy; Green, Anthony (1992), Gods, Demons and Symbols of Ancient Mesopotamia: An Illustrated Dictionary, The British Museum Press, ISBN 978-0-7141-1705-8; Jacobsen, Thorkild (2008) [1970], "Toward the Image of Tammuz", in Moran, William L. (ed.), Toward the Image of Tammuz and Other Essays on Mesopotamian History and Culture, Eugene, Oregon: Wipf & Stock, pp. 73–103, ISBN 978-1-55635-952-1; Ackerman, Susan (2006) [1989], Day, Peggy Lynne (ed.), Gender and Difference in Ancient Israel, Minneapolis, Minnesota: Fortress Press, ISBN 978-0-8006-2393-7; Simons, Frank (2017), Hazenbos, Joost; Mittermayer; Leick, Gwendolyn (2013) [1994], Sex and Eroticism in Mesopotamian Literature, New York City, New York: Routledge, ISBN 978-1-134-92074-7Novák, Mirko; Suter, Claudia E. (eds.), "A New Join to the Hurro-Akkadian Version of the Weidner God List from Emar (Msk 74.108a + Msk 74.158k)", Altorientalische Forschungen, Berlin, Germany: Walter de Gruyter, 44 (1): 82–100, doi:10.1515/aofo-2017-0009, ISSN 0232-8461; Cyrino, Monica S. (2010), Aphrodite, Gods and Heroes of the Ancient World, New York City, New York and London, England: Routledge, ISBN 978-0-415-77523-6; Detienne, Marcel (1977) [1972], Les jardins d'Adonis, translated by Lloyd, Janet, Hertfordshire, England: Harvester Press; van der Toorn, Karel; Becking, Bob; Willem, Pieter (1999), Dictionary of Deities and Demons in the Bible (second ed.), Grand Rapids, Michigan: William B. Eerdman's Publishing Company, ISBN 978-0-8028-2491-2; Kramer, Samuel Noah (28 April 1970), The Sacred Marriage Rite, Bloomington, Indiana: Indiana University Press, ISBN 978-0253350350; Nemet-Nejat, Karen Rhea (1998), Daily Life in Ancient Mesopotamia, Daily Life, Greenwood, ISBN 978-0313294976; Pryke, Louise M. (2017), Ishtar, New York and London: Routledge, ISBN 978-1-138--86073-5; Kramer, Samuel Noah (1961), Sumerian Mythology: A Study of Spiritual and Literary Achievement in the Third Millennium B.C.: Revised Edition, Philadelphia, Pennsylvania: University of Pennsylvania Press, ISBN 978-0-8122-1047-7; Wolkstein, Diane; Kramer, Samuel Noah (1983), Inanna: Queen of Heaven and Earth: Her Stories and Hymns from Sumer, New York City, New York: Harper&Row Publishers, ISBN 978-0-06-090854-6; Tinney, Steve (April 2018), Woods, Christopher; Richardson, Seth; Osborne, James; El Shamsy, Ahmed (eds.), ""Dumuzi's Dream" Revisited", Journal of Near Eastern Studies, Chicago, Illinois: The University of Chicago Press, 77 (1): 85–89, doi:10.1086/696146, ISSN 0022-2968; Penglase, Charles (1994), Greek Myths and Mesopotamia: Parallels and Influence in the Homeric Hymns and Hesiod, New York City, New York: Routledge, ISBN 978-0-415-15706-3, Warner, Marina (2016) [1976], Alone of All Her Sex: The Myth and Cult of the Virgin Mary, Oxford, England: Oxford University Press, ISBN 978-0-19-963994-6, Middlemas, Jill (2005), The Troubles of Templeless Judah, Oxford, England: Oxford University Press, ISBN 978-0199283866, Smith, Mark S. (2002), The Early History of God: Yahweh and the Other Deities in Ancient Israel (2nd ed.), Wm. B. Eerdmans Publishing Company, ISBN 9780802839725, Middlemas, Jill (2005), The Troubles of Templeless Judah, Oxford, England: Oxford University Press, ISBN 978-0199283866, van der Toorn, Karel; Becking, Bob; Willem, Pieter (1999), Dictionary of Deities and Demons in the Bible (second ed.), Grand Rapids, Michigan: William B. Eerdman's Publishing Company, ISBN 978-0-8028-2491-2, Toward the Image of Tammuz and Other Essays in Mesopotamian History and Culture. Thorkild Jacobsen, editor. Harvard U. Press, 1976., Langdon, S. Tammuz and Ishtar. Oxford: Clarendon, 1914., La ‘resurrection’ d’Adonis,” in Melanges Isidore Levy, 1955, pp. 207-40).”, Weston, Jessie. From Ritual to Romance. Chapter IV: Tammuz and Adonis. Available from: www.sacred-texts.com/neu/frr/frr07.htm#fn_39>http://www.sacred-texts.com/neu/frr/frr07.htm#fn_39. The Internet Sacred Text Archive. Accessed May 22, 2007., Yamauchi, Edwin M. Easter: Myth, Hallucination, or History., Weston, Jessie. Ritual to Romance., Habermas, Gary. Mike Licona. The Case For the Resurrection of Jesus. Grand Rapids, Kregel Publications: 2004. pg. 90., Yamauchi, Edwin M. Easter: Myth, Hallucination, or History., Frazer, Sir James George. The Golden Bough.,

#SoundCloud #music #Looking for that blessed hope #Antichrist #Christmas #Merry #Tammuz #Antichrist Christmas Merry Tammuz Mass Jesus Christ Ezekiel Dummuzid derived Summerian faithful son pleased Damu power sap trees return autu

[londontheatre]

Tickets go on sale for Rufus Norris’ Macbeth, with Rory Kinnear and Anne-Marie Duff, part of the Travelex Season with thousands of tickets available at £15

Cast announced for world premiere of The Great Wave, a co-production with the Tricycle Theatre, directed by Indhu Rubasingham

Full cast announced for UK premiere of Annie Baker’s John, directed by James Macdonald

30 years after the play’s rediscovery, Absolute Hell returns to the National in a new production directed by Joe Hill-Gibbins

Further cast announced for the revival of Amadeus

Tickets on sale for Justin Audibert’s new production of The Winter’s Tale for primary schools

National Theatre Jan 2015 – photo by Philip Vile

Olivier Theatre MACBETH by William Shakespeare Previews from 26 February, press night 6 March, on sale until 12 May with further performances to be announced The ruined aftermath of a bloody civil war. Ruthlessly fighting to survive, the Macbeths are propelled towards the crown by forces of elemental darkness. Shakespeare’s most intense and terrifying tragedy is directed by Rufus Norris 25 years after his last Shakespeare production. Rory Kinnear and Anne-Marie Duff play Macbeth and Lady Macbeth. Set design by Rae Smith, costume design by Moritz Junge, lighting design by James Farncombe and sound design by Paul Arditti. Hundreds of Travelex tickets available for every performance at £15. Broadcast live as part of NT Live to cinemas worldwide on 10 May.

Lyttelton Theatre ABSOLUTE HELL by Rodney Ackland Previews from 18 April, press night 25 April, on sale until 23 May with further performances to be announced Bomb-blasted London. A Soho den in the hangover from World War II, where members drink into the darkness, night after night. Lying, fighting and seducing, these lost souls and bruised lovers struggle from the rubble of war towards an unknown future. Rodney Ackland’s extraordinarily provocative play was condemned as ‘a libel on the British people’ when first performed in 1952. Now it emerges as an intoxicating plunge into post-war Soho; full of despair and longing. Joe Hill-Gibbins returns to the NT to direct a large ensemble in this new production. Set design by Lizzie Clachan, with costumes designed by Nicky Gillibrand, lighting by Jon Clark, movement by Jenny Ogilvie, sound by Paul Arditti and the music director is Harvey Brough.

Dorfman Theatre JOHN by Annie Baker Previews from 17 January, press night 24 January in repertoire until 3 March The week after Thanksgiving. A bed and breakfast in Gettysburg, Pennsylvania. A cheerful host welcomes a young couple struggling to salvage their relationship, while thousands of inanimate objects look on. An uncanny new play by Annie Baker, whose Pulitzer Prize-winning The Flick had a sold-out run at the National in 2016. James Macdonald directs the European premiere. Full cast includes Marylouise Burke, Tom Mothersdale, Anneika Rose and June Watson. Design by Chloe Lamford, lighting design by Peter Mumford and sound design by Christopher Shutt. Marylouise Burke is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange programme between American Equity and UK Equity. New American Work programme supported by The Harold & Mimi Steinberg Charitable Trust, Lawton W Fitt & James I McLaren Foundation, Kathleen J Yoh and Time Warner Foundation, Inc.

THE GREAT WAVE a new play by Francis Turnly a co-production with the Tricycle Theatre Previews from 10 March, press night 19 March, playing until 14 April On a Japanese beach, teenage sisters Hanako and Reiko are caught up in a storm. Reiko survives while Hanako is lost to the sea. Their mother, however, can’t shake the feeling that her missing daughter is still alive, and soon family tragedy takes on a global political dimension. Set in Japan and North Korea, Francis Turnly’s epic new thriller is directed by Artistic Director of the Tricycle Theatre Indhu Rubasingham in a co-production with the Tricycle Theatre. Cast includes Kae Alexander, Rosalind Chao, Tuyen Do, Vincent Lai, Kwong Loke, Frances Mayli McCann, Kirsty Rider, Leo Wan and David Yip. Design by Tom Piper, video design by Luke Halls, lighting design by Oliver Fenwick, music by David Shrubsole, sound design by Alex Caplen, movement direction by Polly Bennett and fight direction by Kev McCurdy. Rosalind Chao is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange programme between American Equity and UK Equity.

NINE NIGHT a new play by Natasha Gordon Previews from 21 April, press night 30 April, playing until 25 May Gloria is gravely sick. When her time comes, the celebration begins; the traditional Jamaican Nine Night Wake. But for Gloria’s children and grandchildren, marking her death with a party that lasts over a week is a test. Nine nights of music, food, sharing stories – and an endless parade of mourners. Natasha Gordon’s debut play Nine Night is a touching and very funny exploration of the rituals of family. Roy Alexander Weise directs a cast including Franc Ashman, Oliver Alvin-Wilson, Rebekah Murrell and Cecilia Noble, with further casting to be announced. Design by Rajha Shakiry. Unallocated seating now available, more tickets released in January. New productions on sale to public from 21 November Updates on productions currently on sale Olivier theatre

FOLLIES, book by James Goldman, music and lyrics by Stephen Sondheim In the repertoire until 3 January 2018 New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as ‘Broadway Baby’, ‘I’m Still Here’ and ‘Losing My Mind’, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom).

The cast includes Julie Armstrong, Norma Atallah, Josephine Barstow, Jeremy Batt, Tracie Bennett, Di Botcher, Billy Boyle, Janie Dee, Anouska Eaton, Liz Ewing, Geraldine Fitzgerald, Peter Forbes, Emily Goodenough, Bruce Graham, Adrian Grove, Fred Haig, Aimee Hodnett, Dawn Hope, Liz Izen, Alison Langer, Emily Langham, Sarah-Marie Maxwell, Ian McLarnon, Leisha Mollyneaux, Gemma Page, Kate Parr, Philip Quast, Edwin Ray, Gary Raymond, Adam Rhys-Charles, Jordan Shaw, Imelda Staunton, Zizi Strallen, Barnaby Thompson, Christine Tucker, Michael Vinsen and Alex Young.

Design by Vicki Mortimer, choreography by Bill Deamer, music supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, music director Nigel Lilley, lighting design by Paule Constable and sound design by Paul Groothuis. Follies is sold out but tickets are available via Friday Rush, Day Tickets and possible returns. Follies is supported by Swarovski and by the Follies production syndicate. Broadcast Live to cinemas worldwide on 16 November.

SAINT GEORGE AND THE DRAGON a new play by Rory Mullarkey In the repertoire until 2 December A village. A dragon. A damsel in distress. Into the story walks George: wandering knight, freedom fighter, enemy of tyrants the world over. One epic battle later and a nation is born. As the village grows into a town, and the town into a city, the myth of Saint George, which once brought a people together, threatens to divide them. John Heffernan plays Saint George with Julian Bleach as the Dragon. The cast also includes Suzanne Ahmet, Jason Barnett, Luke Brady, Paul Brennen, Joe Caffrey, Paul Cawley, Richard Goulding, Gawn Grainger, Tamzin Griffin, Ravel Guzman, Stephanie Jacob, Lewin Lloyd, Olwen May, Victoria Moseley, Conor Neaves, Amaka Okafor, Sharita Oomeer, Jeff Rawle, Kirsty Rider and Grace Saif.

Rory Mullarkey creates a new folk tale for an uneasy nation. Directed by Lyndsey Turner (Chimerica, Light Shining in Buckinghamshire), with design by Rae Smith, choreography by Lynne Page, lighting design by Bruno Poet, music by Grant Olding, sound design by Christopher Shutt, projection design by Betsy Dadd and fight direction by Bret Yount. Hundreds of Travelex tickets at £15 available per performance. This play is a recipient of an Edgerton Foundation New Plays Award.

AMADEUS by Peter Shaffer Previews from 11 January, press night 18 January, playing until 24 April Following a sell-out run last year, Amadeus returns to the Olivier in 2018. Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy it. Seized by obsessive jealousy he begins a war with Mozart, with music and, ultimately, with God. Michael Longhurst’s acclaimed production of Peter Shaffer’s iconic play features live orchestral accompaniment by Southbank Sinfonia. Adam Gillen and Lucian Msamati reprise the roles of Mozart and Salieri. Cast also includes Sarah Amankwah, Fleur de Bray, Wendy Dawn Thompson, Nicholas Gerard-Martin, Christopher Godwin, Matthew Hargreaves, Adelle Leonce, Michael Lyle, Andrew Macbean, Alexandra Mathie, Eamonn Mulhall, Ekow Quartey, Hugh Sachs, Matthew Spencer, Everal A Walsh and Peter Willcock. Amadeus is directed by Michael Longhurst with design by Chloe Lamford, music direction and additional music by Simon Slater, choreography by Imogen Knight, lighting design by Jon Clark and sound design by Paul Arditti. Amadeus is produced in association with Southbank Sinfonia, and supported by the Amadeus production syndicate.

Lyttelton NETWORK, adapted by Lee Hall, based on the Paddy Chayefsky film Previews from 4 November, press night 13 November, continuing in the repertoire until 24 March Howard Beale, news anchor-man, isn’t pulling in the viewers. In his final broadcast he unravels live on screen. But when the ratings soar, the network seizes on their new found populist prophet, and Howard becomes the biggest thing on TV. Network depicts a dystopian media landscape where opinion trumps fact. Hilarious and horrifying by turns, the iconic film by Paddy Chayefsky won four Academy Awards in 1976. Now, Lee Hall (Billy Elliot, Our Ladies of Perpetual Succour) and director Ivo van Hove (Hedda Gabler) bring Chayefsky’s masterwork to the stage for the first time, with Bryan Cranston (All the Way, for which he won the Tony for Best Actor, Breaking Bad and Trumbo for which he was nominated for an Oscar) in the role of Howard Beale.

The cast also includes Charles Babalola, Tobi Bamtefa, Ed Begley, Alex Bonney, Tom Challenger, Richard Cordery, Isabel Della-Porta, Michelle Dockery, Kit Downes, Ian Drysdale, Michael Elwyn, Caroline Faber, Robert Gilbert, Pete Harden, Douglas Henshall, Tom Hodgkins, Tunji Kasim, Andrew Lewis, Beverley Longhurst, Evan Milton, Stuart Nunn, Rebecca Omogbehin, Patrick Poletti, Danny Szam, Paksie Vernon and Matthew Wright. Set and lighting design by Jan Versweyveld, video design by Tal Yarden, costume design by An D’Huys, music and sound by Eric Sleichim and creative associate Krystian Lada.

A very limited number of additional on-stage seats are now available for Foodwork – an immersive on-stage dining experience.

Network is produced in association with Patrick Myles, David Luff, Ros Povey and Lee Menzies. Production supported by Marcia Grand in memory of Richard Grand and by Kors Le Pere Theatricals LLC

PINOCCHIO by Dennis Kelly, adapted by Martin Lowe With songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J Smith Previews from 1 December, press night 13 December, on sale until 7 April On a quest to be truly alive, Pinocchio leaves Geppetto’s workshop with Jiminy Cricket in tow. Their electrifying adventure takes them from alpine forests to Pleasure Island to the bottom of the ocean. This spectacular new production brings together the director of Harry Potter and the Cursed Child and the writer of Matilda the Musical.

For the first time on stage, featuring unforgettable music and songs from the Walt Disney film including ‘I’ve Got No Strings’, ‘Give a Little Whistle’ and ‘When You Wish upon a Star’ in dazzling new arrangements, Pinocchio comes to life as never before.

Cast includes Joe Idris-Roberts (Pinocchio), Audrey Brisson (Jiminy Cricket), Annette McLaughlin (Blue Lady), Mark Hadfield (Gepetto), David Langham (The Fox), David Kirkbride (Coachman), Dawn Sievewright (Lampy), Gershwyn Eustache Jnr (Stromboli), together with Stuart Angell, Trieve Blackwood-Cambridge, Stephanie Bron, James Charlton, Rebecca Jayne-Davies, Sarah Kameela Impey, Anabel Kutay, Michael Lin, Jack North, Clemmie Sveaas, Michael Taibi, Scarlet Wilderink and Jack Wolfe.

John Tiffany directs Pinocchio by Dennis Kelly, with songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J Smith newly adapted by Martin Lowe. Design and puppet co-design by Bob Crowley, lighting design by Paule Constable, music supervision and orchestrations by Martin Lowe, music direction by Tom Brady, movement direction by Steven Hoggett, puppetry and puppet co-design by Toby Olié, sound design by Simon Baker and illusions by Jamie Harrison.

Half-price tickets for under-18s are available for all performances (excluding £15 tickets). There will be a relaxed performance of Pinocchio on 17 March at 1.30pm Presented by special arrangement with Disney Theatrical Productions. Sponsored by American Express.

Dorfman Theatre BEGINNING a new play by David Eldridge Playing until 14 November It’s the early hours of the morning and Danny’s the last straggler at Laura’s party. The flat’s in a mess. And so are they. One more drink? Polly Findlay directs this new play by David Eldridge (Market Boy, Under the Blue Sky, In Basildon). Tender and funny, it’s an intimate look at the first fragile moments of risking your heart and taking a chance. Justine Mitchell plays Laura, Sam Troughton plays Danny. Design by Fly Davis, lighting design by Jack Knowles, sound design by Paul Arditti and movement direction by Naomi Said.

BARBER SHOP CHRONICLES by Inua Ellams a co-production with Fuel and West Yorkshire Playhouse Previews from 20 November, playing until the 9 January Following critically acclaimed seasons at the National Theatre and West Yorkshire Playhouse, Barber Shop Chronicles returns to the National Theatre this November.

Inua Ellams’ dynamic new play leaps from a barber shop in Peckham to Johannesburg, Harare, Kampala, Lagos and Accra. Newsroom, political platform, local hot spot, confession box, preacher-pulpit and football stadium. For generations, African men have gathered in barber shops to discuss the world. These are places where the banter can be barbed and the truth is always telling.

The cast includes Fisayo Akinade, Hammed Animashaun, Peter Bankolé, Maynard Eziashi, Simon Manyonda, Patrice Naiambana, Cyril Nri, Kwami Odoom, Sule Rimi, Abdul Salis, David Webber, and Anthony Welsh all returning to reprise their roles.

Directed by Bijan Sheibani, with design by Rae Smith, lighting design by Jack Knowles, movement direction by Aline David sound design by Gareth Fry, music direction by Michael Henry and fight direction by Kev McCurdy. Barber Shop Chronicles is a co-production with Fuel and West Yorkshire Playhouse. Barber Shop Chronicles is co-commissioned by Fuel and the National Theatre. Development funded by Arts Council England with the support of Fuel, National Theatre, West Yorkshire Playhouse, The Binks Trust, British Council ZA, Òran Mór and A Play, a Pie and a Pint.

At the Young Vic THE JUNGLE by Joe Murphy and Joe Robertson a Young Vic and National Theatre co-production with Good Chance Theatre, commissioned by the National Theatre Previews from 7 December, press night 15 December playing until 6 January 2018 This is the place people suffered and dreamed. Okot wants nothing more than to get to the UK. Beth, wants nothing more than to help him. Meet the hopeful, resilient residents of ‘The Jungle’ – just across the Channel, right on our doorstep. Join refugees and volunteers from around the world over fresh-baked naan and sweet milky chai at the Afghan Café.

From Good Chance Theatre, a new play where worlds collide. In the worst places, you meet the best people. The Jungle by Joe Murphy and Joe Robertson of Good Chance Theatre tells stories of loss, fear, community and hope. Europe’s largest unofficial refugee camp, the Calais ‘Jungle’ became a temporary home for more than 10,000 people at its peak – many desperate to find a way to enter the UK.

Commissioned by the NT in a co-production with the Young Vic The Jungle is directed by Stephen Daldry and Justin Martin, set design by Miriam Buether, costume design by Catherine Kodicek, sound design by Paul Arditti and lighting by Jon Clark. Opening at the Young Vic in December, cast to be announced. Generously supported by Glenn and Phyllida Earle, Clive and Sally Sherling, and The Aziz Foundation Shakespeare for younger audiences

The Winter’s Tale by William Shakespeare a new version for young audiences by Justin Audibert and the company Opening 14 February 2018 Justin Audibert directs a new production of The Winter’s Tale for primary schools and families, opening in the Dorfman theatre in February 2018 and touring to primary schools across London accompanied by a creative learning programme. This exciting new version of the play, adapted by Justin and the company, is the perfect introduction to Shakespeare for younger audiences, designed by Lucy Sierra with music by Jonathan Girling. Family workshops are available in February half-term. Supported by The Ingram Trust, Archie Sherman Charitable Trust, Behrens Foundation, Jill and David Leuw, St Olave’s Foundation Fund The National Theatre’s Partner for Learning is Bank of America Merrill Lynch.

In the West End OSLO a new play by J. T. Rogers The Lincoln Center Theatre Production at the Harold Pinter Theatre Direct from a multi-award-winning season on Broadway and a critically acclaimed, sold-out run at the National Theatre, Bartlett Sher’s production of J.T. Rogers’ gripping political thriller Oslo in now playing at the Harold Pinter Theatre until 30 December 2017.

Oslo tells the true story of how two maverick Norwegian diplomats Terje Rød-Larsen, (Toby Stephens – Black Sails, Private Lives) and Mona Juul, (Lydia Leonard – Wolf Hall, Life in Squares) planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organisation, which culminated in the signing of the historic 1993 Oslo Accords. OsloThePlay.com In association with Ambassador Theatre Group / Gavin Kalin Productions / Glass Half Full Productions. The National Theatre on tour The NT will tour to 40 venues in 36 towns and cities across the UK, for a total of 115 playing weeks, until March 2019

WAR HORSE based on the novel by Michael Morpurgo, adapted by Nick Stafford, in association with the award-winning Handspring Puppet Company. The unforgettable theatrical event based on Michael Morpurgo’s beloved novel is now on a 10th anniversary UK tour. Nick Stafford’s adaptation of this remarkable story of courage, loyalty and friendship features ground-breaking puppetry by South Africa’s Handspring Puppet Company, which brings breathing, galloping horses to life on stage. War Horse is directed by Marianne Elliott and Tom Morris, designed by Rae Smith, with puppet direction, design and fabrication by Basil Jones and Adrian Kohler for Handspring Puppet Company, lighting by Paule Constable, movement and horse choreography by Toby Sedgwick, video design by Leo Warner and Mark Grimmer for 59 Productions, songmaker John Tams, music by Adrian Sutton and sound by Christopher Shutt. Katie Henry is the revival director and Craig Leo is the associate puppetry director. The resident puppetry director is Matthew Forbes and resident director, Charlotte Peters.

For tour venues and dates, visit warhorseonstage.co.uk. War Horse in Salford and Sunderland is supported by The Garfield Weston Foundation.

HEDDA GABLER by Henrik Ibsen, in a new version by Patrick Marber Following a sold-out run at the National Theatre earlier this year, Ibsen’s Hedda Gabler, in a new version by Patrick Marber, directed by Ivo van Hove, is now touring the UK and Ireland visiting Leicester, Salford, Norwich, Hull, Aberdeen, Northampton, Glasgow, Wolverhampton, Woking, Nottingham, Newcastle-upon-Tyne, York, Milton Keynes and Dublin. Set and lighting design for Hedda Gabler is by Jan Versweyveld, with costume design by An D’Huys and sound by Tom Gibbons. The associate directors are Jeff James and Rachel Lincoln. For tour venues and dates, visit heddagableronstage.com

Hedda Gabler in Salford and Wolverhampton is supported by The Garfield Weston Foundation.

PEOPLE, PLACES & THINGS by Duncan Macmillan a co-production with Headlong Following a critically-acclaimed, sold-out season at the National Theatre and in London’s West End, People, Places & Things is now on a major UK tour for Headlong in a co-production with the National Theatre, HOME and Exeter Northcott Theatre. People, Places & Things is written by Duncan Macmillan, and directed by Jeremy Herrin with Holly Race Roughan. The play features set designs by Bunny Christie, costumes by Christina Cunningham, lighting by James Farncombe, music by Matthew Herbert, sound by Tom Gibbons and video design by Andrzej Goulding. Touring to Bristol, Exeter, Southampton, Liverpool and Cambridge for dates, visit the website.

THIS HOUSE by James Graham Jonathan Church Productions and Headlong present the National Theatre and Chichester Festival Theatre production of This House, produced in the West End by Nica Burns, Neal Street Productions and Headlong. James Graham’s smash-hit political drama examining the 1974 hung parliament tours the UK for the first time. Directed by Jeremy Herrin, the production is designed by Rae Smith, with lighting design by Paule Constable, music by Stephen Warbeck, choreography by Scott Ambler and sound by Ian Dickinson. UK tour begins in February 2018 and tours to Leeds, Cambridge, Bath, Edinburgh, Nottingham, Birmingham, Salford, Plymouth, Norwich, Malvern, Guildford and Sheffield for dates, visit the website.

International PEOPLE, PLACES & THINGS by Duncan Macmillan produced in New York by the National Theatre, St Ann’s Warehouse, Bryan Singer Productions and Headlong People, Places & Things is currently playing at St. Ann’s Warehouse in Brooklyn until 3 December following a sold-out season at the National Theatre and in London’s West End. Denise Gough reprises her Olivier award-winning role in the American premiere of People, Places & Things at St. Ann’s Warehouse – a raw, heartbreaking and truthful performance about life spinning recklessly out of control. This American premiere marks the first collaboration between St. Ann’s Warehouse and the National Theatre. For more information visit the website.

ANGELS IN AMERICA: A Gay Fantasia on National Themes by Tony Kushner The great work returns to Broadway from February 2018. Angels in America will open at the Neil Simon Theater on 25 March. The NT production of Tony Kushner’s epic masterwork, Angels in America: A Gay Fantasia on National Themes, returns to Broadway for the first time since its now-legendary original production opened in 1993. Starring two-time Tony Award® winner Nathan Lane and Academy Award® and Tony Award nominee Andrew Garfield, the cast of Angels in America will also feature Susan Brown, Denise Gough, Amanda Lawrence, James McArdle, Lee Pace and Nathan Stewart-Jarrett. Angels in America is directed by Marianne Elliott. Set design by Ian MacNeil, costume design by Nicky Gillibrand, lighting design by Paule Constable, music by Adrian Sutton, sound design by Ian Dickinson, puppetry design is by Nick Barnes and Finn Caldwell (also Puppetry Director and Movement), movement direction by Robby Graham, and illusions by Chris Fisher. Angels in America is produced by NT America, Jujamcyn Theaters and Elliott & Harper Productions. For more information visit angelsbroadway.com

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME based on the novel by Mark Haddon, adapted by Simon Stephens The NT’s Olivier and Tony Award®-winning production of The Curious Incident of the Dog in the Night-Time is now on an international tour, visiting the Netherlands, Canada, Australia, Hong Kong and Singapore, with further international dates to be announced. The Curious Incident of the Dog in the Night-Time recently completed a North American tour which took in 30 cities across the USA at a 25-date UK and Ireland tour. The play is adapted by Simon Stephens from Mark Haddon’s best-selling book, and directed by Marianne Elliott. The production is designed by Bunny Christie, with lighting design by Paule Constable, video design by Finn Ross, movement by Scott Graham and Steven Hoggett for Frantic Assembly, music by Adrian Sutton and sound by Ian Dickinson for Autograph. For more information visit http://ift.tt/2fGhLCS

National Theatre Live

NT Live currently screens to 60 countries across the globe.

Stephen Sondheim’s Follies directed by Dominic Cooke features a cast of 37 including, Tracie Bennett, Janie Dee and Imelda Staunton. Broadcast live on 16 November.

Rory Kinnear plays Marx and Oliver Chris plays Engels in Young Marx directed by Nicholas Hytner and broadcast live from the Bridge Theatre on 7 December.

Benedict Andrews directs Sienna Miller and Jack O’Connell in The Young Vic production of Cat on a Hot Tin Roof. Captured during its West End run and broadcast on 22 February 2018.

Nicholas Hytner directs Ben Whishaw, Michelle Fairley, David Calder and David Morrissey in Julius Caesar. Broadcast from the Bridge Theatre on 22 March 2018.

Rory Kinnear and Anne-Marie Duff appear in a new production of Macbeth, directed by Rufus Norris. Broadcast live from the National Theatre on 10 May.

Simon Godwin’s production of Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo will be broadcast live from the National Theatre. Date tbc.

Sky Arts is the sponsor of NT Live in the UK nationaltheatre.org.uk

http://ift.tt/2wkVHn9 London Theatre 1

#IFTTT #London Theatre 1

[researchreportintroba2b-blog]

Harvard References

Thalia (muse) (2016) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Thalia_(Muse) (Accessed: 8 January 2017).

Ltd, S. (2015) Thalia ***. Available at: http://www.talesbeyondbelief.com/nymphs/thalia-muse.htm (Accessed: 8 January 2017).

THALIA (Thaleria)  Available at: http://www.theoi.com/Ouranios/MousaThaleia.html (Accessed: 8 January 2017).

The Editors of Encyclopædia Britannica (2015) ‘Aristophanes | Greek dramatist’, in Encyclopædia Britannica. Available at: http://www.britannica.com/biography/Aristophanes (Accessed: 8 January 2017).

Cartwright, M. (2013) Aristophanes. Available at: http://www.ancient.eu/Aristophanes/ (Accessed: 8 January 2017).

Cartwright, M. (2013) Ancient_Greek_Comedy. Available at: http://www.ancient.eu/Greek_Comedy/ (Accessed: 8 January 2017).

History.com (2002) Origin of comedy. Available at: http://www.theatrehistory.com/ancient/bates001.html (Accessed: 8 January 2017).

The Editors of Encyclopædia Britannica (2010) ‘Comedy | literature and performance’, in Encyclopædia Britannica. Available at: http://www.britannica.com/art/comedy (Accessed: 8 January 2017).        

Morreall, J. (2016) Philosophy of humor. Available at: http://plato.stanford.edu/entries/humor/ (Accessed: 8 January 2017).

Simpson, D. (no date) Comedy and tragedy. Available at: http://condor.depaul.edu/dsimpson/tlove/comic-tragic.html (Accessed: 8 January 2017).

Kitano, M. (2001) Aristotle’s Theory of Comedy: Mu’qo‘ and kavqarsi’. Available at: http://www.gpwu.ac.jp/~kitano/papers/comic.pdf (Accessed: 8 January 2017).

The different types of Greek drama and their importance (no date) Available at: http://www.pbs.org/empires/thegreeks/background/24c.html (Accessed: 8 January 2017)

Willoughby, C. and ArenaPal (2015) An introduction to Shakespeare’s comedy. Available at: http://www.bl.uk/shakespeare/articles/an-introduction-to-shakespeares-comedy (Accessed: 8 January 2017).

Virk, A. (2012) Features of Shakespearean comedies and tragedies. Available at: https://prezi.com/eou5x_mzhdoi/features-of-shakespearean-comedies-and-tragedies/ (Accessed: 8 January 2017).

Jamieson, L. (2016) Shakespeare comedy how to identify a Shakespeare comedy. Available at: http://shakespeare.about.com/od/thecomedies/a/Shakespeare_Comedy.htm (Accessed: 8 January 2017).

*, N. (2011) Shakespeare’s comedy plays. Available at: http://www.nosweatshakespeare.com/shakespeares-plays/play-types/comedy-plays/ 

The Editors of Encyclopædia Britannica (2011) ‘Slapstick | comedy’, in Encyclopædia Britannica. Available at: https://www.britannica.com/art/slapstick-comedy (Accessed: 8 January 2017).

Booker, C. (2004) The seven basic plots: Why we tell stories. New York: Continuum International Publishing Group.

Goldmark, D.I. and Keil, C. (2011) Funny pictures: Animation and comedy in studio-era Hollywood. Available at: https://books.google.co.uk/books?id=x5ZdmjXyl58C&printsec=frontcover&dq=Animation,+Comedy&hl=en&sa=X&ved=0ahUKEwisteOZyJvQAhVCJsAKHbTlBaYQ6AEIGzAA#v=onepage&q=Animation%2C%20Comedy&f=false (Accessed: 8 January 2017).

Charlie Chaplin: Official Website (1925) Available at: http://www.charliechaplin.com/ (Accessed: 8 January 2017).

Biography.com Editors (2015) Charlie Chaplin Biography. Available at: http://www.biography.com/people/charlie-chaplin-924432 (Accessed: 8 January 2017

The Editors of Encyclopædia Britannica (2011) ‘Keystone Kops | film characters’, in Encyclopædia Britannica. Available at: https://www.britannica.com/topic/Keystone-Kops (Accessed: 8 January 2017).

(No Date) Available at: https://en.oxforddictionaries.com/definition/slapstick (Accessed: 8 January 2017).

Dictionary (2017) ‘The definition of keystone Kop’, in Available at: http://www.dictionary.com/browse/keystone-kop (Accessed: 8 January 2017).

Vance, J., Bowman, M. and Robinson, D. (2003) Charlie Chaplin: Genius of the cinema. New York: Harry N. Abrams

Cahn, W. (1964) Harold Lloyd’s World of Comedy. Crows Nest, Australia: Allen & Unwin.

Crowther, B., Wise, E. and Crowther, B. (1987) Laurel and hardy: Clown princes of comedy. London: Virgin Books.

S, K.S. (1998) Reading the rabbit: Explorations in Warner Bros. Animation. Edited by Kevin S. Sandler. New Brunswick, NJ: Rutgers University Press.

Barrier, M.J. (1999) Hollywood cartoons: American animation in its golden age. New York: Oxford University Press.

Beck, J. (1994) The 50 greatest cartoons: As selected by 1, 000 animation professionals. New York, NY, United States: World Publications (MA).

Stabile, C.A. and Harrison, M. (2003) Prime-time animation: Television animation and American culture. New York, NY: Routledge.

5

[accuratepicuresofanthropologists]

A.R. Radcliffe-Brown, painted by Aletta Lewis in 1928

Lewis was, I believe, a British artist who was active in Sydney when R-B was there. I have little information about this painting, except that it is reproduced in W Lloyd Warner, the biographer of W Lloyd Warner written by his wife Mildred.

#anthropology #portrait #A.R. Radcliffe-Brown #Aletta Lewis #W Lloyd Warner (book) #art

[accuratepicuresofanthropologists]

W Lloyd Warner, by Aletta Lewis 1929

W Lloyd Warner was from Redlands, California (not far from where Ruth Benedict conducted her first fieldwork). He served in WWI, then ran off for a life on Broadway before returning to California -- UC Berkeley to be precise -- to study anthropology. Radcliffe-Brown visited Berkeley to connect with Kroeber and Lowie and took a liking to Warner and suggested that he come to Australia with him. Like that, Warner was off. He went on to become an important anthropologist, bringing to life R-B’s dictum that anthropology could be the study of everyone, not just ‘primitives’. Warner mentored St. Clair Drake and Allison Davis, among others, and supported the writing of classic monographs such as Black Metropolis and Deep South. He corresponded with R-B over the years and even rated an NYT obit when he passed. Most anthropologists working today have never heard of him, I reckon.

This image is from his biography, W Lloyd Warner, written by his wife Mildred.

#portrait #Aletta Lewis #W Lloyd Warner #W Lloyd Warner (book) #painting #anthropology #art

[accuratepicuresofanthropologists]

The cover of Varel’s biography of Allison Davis, showing Davis in Natchez, Mississippi. These entries are based on that book.

Back in United States and with the depression in full swing, the Davises found work in the form of a project directed by W Lloyd Warner: A team study of Natchez, Mississippi which would examine the social structure of the Jim Crow south. The south had become an object of interest in the north as a result of the trial of the Scottsboro boys in 1931, a miscarriage of justice in which young homeless black men were convicted of rape on the flimsiest of charges. The Davises teamed up with another couple, Burleigh and Mary “Jackie” Gardner. St. Clair Drake, Allison’s old student from the Hampton institute, rounded out the team.

Fieldwork in Natchez was challenging, and perhaps unethical by today’s standards. Burleigh claimed to writing a social history of the town, and told people that Allison was his employee. In fact, the Gardners were studying the white community and the Davises and Drake the black side of town. Living under Jim Crow was exhausting for the Davises and Drake. Allison kept a gun in the glove box of his car. He could only meet with Burleigh occasionally, often only in long car rides, in order to avoid charges of the two of them ‘mixing’. Even Allison’s attempts to send field reports to Warner were stymied, since post office workers grew suspicious of a black man visiting the post office too often.

The final result was worth the effort. The team published their work as the book Deep South, which was well-received and widely taught. Liddie Davis and St. Clair Drake were not listed as authors, unlike other members of the team.  The book was ‘intersectional’ as we say today, examining the way that class and caste (race) interacted in the political economy and social structure of Natchez.

After the study the Davises and St. Clair Drake took faculty positions at Dillard University in New Orleans. Dillard has been created with the help of Rosenwald money, the result of merging two smaller Christian schools to create the first historically black university in Louisiana. Dillard must have appealed to the Davises given its mission to educate black people and fight racism, however the work was grueling: Allison was teaching five courses a semester.

During heir time at Dillard the Davises grew interested in psychology and psychoanalysis, the ‘culture and personality’ theme of 1930s American anthropology. How, Allison wondered, did black people cope with the psychic costs of Jim Crow? He gathered life histories from Natchez and New Orleans and in 1939 got a course release to work up this material into a book at the Institute of Human Relations at Yale. The Institute of Human Relations, or IHR, an ambitious and well-funded interdisciplinary research institute. The anthropological end of the Institute was managed by Edward Sapir, who spent the last years of his life there working on the relationships between psychology and culture. Another key scholar there was John Dollard, a white psychologist who worked on race relations, like Davis. As a student of Malinowski — who would replace Sapir at Yale after Sapir’s death — this focus on the individual’s needs would have been familiar to Davis. And as a Harvard student he would also have been happy to do interdisciplinary social science. Together he worked with Dollard to write the book Children of Bondage. 

Children of Bondage was a group of case studies of black men and woman (or, often, boys and girls) which used psychoanalysis to analyze their reaction to prejudice and segregation. In writing the book, Davis had achieved a rare feat in social science. Between Deep South and Children of Bondage Davis had described and analyzed racial inequality at the level of the individual psychology, up through the community, to a macrolevel analysis of the political economy of regional and national scales — by which I mean cotton farming — which relied on and perpetuated racial inequality.

#Allison Davis #anthropology #The Lost Black Scholar (book) #photograph

[accuratepicuresofanthropologists]

Allison and Elizabeth Davis with friends in Berlin in 1933. They couple is on the far right. Via Varel’s The Lost Black Scholar. This entry is basically a book report on that book.

Throughout the 1930s, the depression deepened, race relations worsened, and Davis grew restless. He decided to pursue a Ph.D. and conduct research on the social problems and racism which were at the center of his life. He grew interested in Africa — what was it like? How potent a force in behavior was African heritage — meaning both biological and cultural heritage? Allison and Liddie decided to study in Berlin, Paris, and London. Not only would this get them away from American racism, but German universities were regarded as the best in the world and the LSE offered an education that was politically relevant and cutting edge. In order to get there, they would first need some a record of success in graduate school, so the Davises both applied to Harvard (or, in Liddie’s case, Radcliffe) and Allison won an SSRC grant to support their studies. By the 1930s Harvard had used Rockefeller money to develop a robust graduate program in anthropology. There, they studied with a variety of professors, including physical anthropologist Earnest Hooten. However, Allison’s chief mentor at the time was W Lloyd Warner.

Warner’s life is a colorful story. He grew up in the early 1900s in Redlands, San Bernardino — not too far from where Ruth Benedict had done her first fieldwork. In fact, Benedict’s informants had only recently been dispossessed of their land by Warner’s ancestors, who turned it into the world center for growing navel oranges. Warner was just old enough to enlist in World War I, but was invalided out for tuberculosis before he could be deployed. He tried his hand at college instead, first at USC and then Berkeley. Bored, he set off for Broadway and tried for an acting career, only to returned to Berkeley and became interested in anthropology. When Radcliffe-Brown and Malinowski came through town on their 1926 Rockefeller-funded tour of the US, Radcliffe-Brown took a shine to Warner. On his way to his new position at Sydney, Radcliffe-Brown asked Warner if he wanted to come along. The answer was ‘yes’, and was on his way to his position at Sydney and invited Warner along . After some coursework at Harvard with Hooton which “prepared him to take measurements of the native people”. Warner became one of Radcliffe-Brown’s closest students and friends and conducted fieldwork in Australia.

The anthropology to which Davis was exposed, then, was of a decidedly non-Boasian kind. It was, rather, ‘British’ social anthropology: Interested in social structure, generalization, and not at all limited to ‘primitive’. For Warner, the line between social anthropology and sociology was thin too non-existent. In fact, he was part of a trend of  ‘community studies’ at Harvard, and Warner would do fieldwork in urban New England inside a factory, and in rural Ireland on [see that article in the Irish Journal of Anthropology on Arensberg]. Not much has been written on Warner, he appears to have been pretty ‘woke’. There is a striking image of him doing fieldwork in Australia around 1928 [in Warner, Warner] with his arm around one aboriginal man while a second man has his arm around Warner. All three are smiling broadly for the camera — it is a strikingly more intimate and friendly image than any I have seen of white people doing fieldwork in Australia at that time (although perhaps I just have not seen enough in order to tell if it is representative or not). Warner was also a member of the Socialist Party at Berkeley. It’s hard to tell just how the left he was — a lot of people are socialists when they are in college — but given this background it is not surprising that he was willing to mentor a student like Allison Davis.

I go on at length about Warner because the Davises spent more time with him than they had originally planned. Allison received Rosenwald Fund money to travel to Europe for a year to study, and the Davises arrived at the LSE in September of 1932. It was not a good trip. The chances of earning a Ph.D. were slim, since it was a two year program and Davis only had one year of funding. His attempt to pursue education in Berlin was interrupted by Hitler’s ascent to power: Davis literally  watched Nazis burn books and jail political opponents before returning to the LSE by March 1933, when Hitler took power as chancellor. As for Paris, there was simply no money for that.

At the LSE the Davises attended Malinowski’s seminar. Malinowski would go on to write letters of recommendation for Allison and would influence Davis, providing him the other hall of the ‘functional’ revolution whose Radcliffe-Brownian variant Davis had already received from Warner. However, he was never close to Malinowski and he remained on the outskirts of Malinowski’s seminar. Rather,  Lancelot Hogbin, a white South African biologist, became Davis’s mentor. Hogbin was part of a wider ‘environmentalist’ movement (of which Boas was a part, for one) which pointed out the plasticity of people in their social and natural environments. Davis would learn it was social structure, not ‘bad genes’ which held African Americans back.

#Allison Davis #group portrait #anthropology #The Lost Black Scholar (book)

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Tammuz The Antichrist and Merry Antichristmas The truth, John 17:17 Sanctify them through thy truth: thy word is truth. Who is Tammuz... Artificial Jesus Christ, we call the antichrist. Jesus Christ is real and Tammuz is fake. 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