AFTER MISS JULIE 2012 скачать в хорошем качестве

AFTER MISS JULIE 2012

by Patrick Marber Directed by Athena Xenidou Produced by and Stavros Xenides, Athena Xenidou, Foivos Liasides XMAS Productions A production that included a six city tour in Cyprus and Greece. Starring Alexis Georgoulis, Kristie Papadopoulou and Nedie Antoniades When Miss Julie – the bored, dangerous, newly jilted young mistress of a country house – descends into the kitchen to lay claim to, and hands on, her father’s chauffeur Jean (right in the face of the latter’s drudgingly obedient intended, Christine, a cook), it feels like the last hurrah for a dying breed about to be swept away in socialism’s new dawn. Yet as furtive carnality gives way to impossible fantasies of flight, the old order reasserts itself both in Miss Julie’s capacity to abuse her position and to feel suicidally caged too. How sharply all this savours in austerity Britain today, when we’re half in love – pace Downton Abbey and Upstairs, Downstairs – with old class distinctions and half furious that, after all this time, we’re being ruled by a cabinet of millionaires. ‘The one-act play, Miss Julie, is an early example of naturalism and is required reading for most beginning theatre students. Set in Norway, it concerns Julie, the daughter of a count, who has an affair with her father’s valet. Their roles are altered by their sexual act, and plans are made for the future, yet they continue to struggle with their own passions and the expectations of those around them — with tragic results. The small-cast Swedish language play was thought to have its first Broadway performance in 1913. Its first performance was in 1889, the year after it was written. After Miss Julie was first staged in 2003 at London’s Donmar Warehouse. Marber, known for the play (and film) Closer, told Playbill magazine that his version is “much more a love story” and that Strindberg’s strikes him as more a “battle of the sexes…. Mine is much more specific and possibly smaller and less elemental and, I think, in its way truer.” (www.playbill.com) “a triumph of respectful tact and radical ingenuity!” -The Telegraph ‘My gravitational pull was towards solitude,’ Patrick Marber has said of his early career in stand-up comedy, that most solitary of performing arts. And yet, his real breakthrough was in those least solitary of forms, radio and television writing, where he collaborated in teams with the likes of Chris Morris and Steve Coogan in the mid-1990s, on award-winning programmes such as Knowing Me, Knowing You, The Day Today, and Paul and Pauline Calf’s Video Diaries.However, the gravitational pull of solitude was too great and Marber abandoned the rich rewards of television for playwriting, finding a powerful patron in Richard Eyre, director of the National Theatre, and an ideal space to experiment.” – Patrick Marber