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Hugh Keays-Byrne
Hugh Keays-Byrne (18 May 1947 – 2 December 2020) was a British-Australian actor and film director. A former member of the Royal Shakespeare Company, he was best known for playing the main antagonist in two films from the ''Mad Max'' franchise: Toecutter in ''Mad Max'' (1979), and Immortan Joe in '' Mad Max: Fury Road'' (2015). He also played Toad in the 1974 biker film ''Stone'', and Grunchlk on the science fiction series ''Farscape''. Early life Keays-Byrne was born in Srinagar, in the state of Jammu and Kashmir (part of the British Raj then, India now) to British parents; his family returned to Britain when India was partitioned. He began his career as a stage actor. Between 1968 and 1972, he had parts in Royal Shakespeare Company productions including ''As You Like It, The Balcony, King Lear,'' ''Hamlet, Much Ado About Nothing, A Midsummer Night's Dream, The Tempest or The Enchanted Island,'' '' Doctor Faustus, The Man of Mode,'' ''Troilus and Cressida, Enemies, The R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Srinagar
Srinagar (English: , ) is the largest city and the summer capital of Jammu and Kashmir, India. It lies in the Kashmir Valley on the banks of the Jhelum River, a tributary of the Indus, and Dal and Anchar lakes. The city is known for its natural environment, gardens, waterfronts and houseboats. It is known for traditional Kashmiri handicrafts like the Kashmir shawl (made of pashmina and cashmere wool), and also dried fruits. It is the 31st-most populous city in India, the northernmost city in India to have over one million people, and the second-largest metropolitan area in the Himalayas (after Kathmandu, Nepal). Origin of name The earliest records, such as Kalhana's ''Rajatarangini'', mentions the Sanskrit name ''shri-nagara'' which have been interpreted distinctively by scholars in two ways: one being ''sūrya-nagar'', meaning "''City of the Surya''" (trans) ''"City of Sun''" and other being ''"The city of "Shri''" (श्री), the Hindu goddess of wealth, meaning "' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Balcony
''The Balcony'' (french: Le Balcon) is a play by the French dramatist Jean Genet. It is set in an unnamed city that is experiencing a revolutionary uprising in the streets; most of the action takes place in an upmarket brothel that functions as a microcosm of the regime of the establishment under threat outside. Since Peter Zadek directed the first English-language production at the Arts Theatre Club in London in 1957, the play has been revived frequently (in various versions) and has attracted many prominent directors, including Peter Brook, Erwin Piscator, Roger Blin, Giorgio Strehler, and JoAnne Akalaitis. It has been adapted as a film and given operatic treatment. The play's dramatic structure integrates Genet's concern with meta-theatricality and role-playing, and consists of two central strands: a political conflict between revolution and counter-revolution and a philosophical one between reality and illusion. Genet suggested that the play should be performed as a "glorif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
RSC Production Of A Midsummer Night's Dream (1970)
The 1970 Royal Shakespeare Company (RSC) production of ''A Midsummer Night's Dream'' was directed by Peter Brook, and is often known simply as Peter Brook's ''Dream.'' It opened in the Royal Shakespeare Theatre at Stratford-upon-Avon and then moved to the Aldwych Theatre in London's West End in 1971. It was taken on a world tour in 1972–1973. Brook's production of ''A Midsummer Night's Dream'' for the RSC is often described as one of the 20th century's most influential productions of Shakespeare, as it rejected many traditional ideas about the staging of classic drama. Concept Shakespeare's play is set in Athens and a fairy-inhabited forest nearby. Brook's aim was to reject the 19th-century traditions of realism and illusionism in the theatre, and focus instead on locating the play in "the heightened realm of metaphor". He also wanted to liberate the play from encrusted "''bad'' tradition" so that the actors could feel that they were encountering the text for the first time ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
