A free database that contains searchable information about practitioners, plays, theatre companies, and the roles played by black and Asian performers in the UK from 1930 to 2015. It draws on performance archives, production reviews, documentary evidence and personal interviews with practitioners and other members of BAME communities.
Provides online access to a digital streaming video collection of unique films of current, leading British theatre productions. Includes behind-the-scenes documentaries as well as teaching and learning resources to facilitate a deeper understanding of the productions and texts. Learning resources include a detailed introduction, plot summary, character biographies, a relationship map, language analysis, scene study, performance background and historical context for each play.
The Donmar Shakespeare Trilogy began in 2012 with an all-female production of Julius Caesar led by Dame Harriet Walter. Set in a women’s prison, the production asked the question, ‘Who owns Shakespeare?’ Two further productions followed: Henry IV in 2014 and The Tempest in 2016, all featuring a diverse company of women.
Drama Online is a digital library of plays from Aeschylus to the present day. It also includes critical analysis, contextual information, A-Z reference and practical texts.
Includes the full text of plays from across the history of the theatre, ranging from Aeschylus to the present day, in addition to some video production of plays and audio recordings. Includes non-English-language works in translation, scholarly and critical editions, first night program texts, and critical analysis and contextual information. Critical interpretations, theatre history surveys and major reference works on authors, movements, practitioners, periods and genres are included alongside performance and practitioner texts, acting and backstage guides. Also includes images from the Victoria and Albert Museum's archive of production photos.
The Global Shakespeares Video & Performance Archive is a collaborative project providing online access to performances of Shakespeare from many parts of the world as well as essays and metadata provided by scholars and educators in the field. The idea that Shakespeare is a global author has taken many forms since the building of the Globe playhouse. Our work honors the fact and demonstrates the diversity of the world-wide reception and production of Shakespeare’s plays in ways that we hope will nourish the remarkable array of new forms of cultural exchange that the digital age has made possible. Global Shakespeares is a participatory multi-centric networked model that offers wide access to international performances that are changing how we understand Shakespeare’s plays and the world.
Drawing on 10 years of NT Live broadcasts, alongside high-quality recordings never previously seen outside of the NT’s Archive, the National Theatre Collection makes this rich body of work available to students in schools, universities and libraries around the world.
Contains interviews with key figures in theatre history and contemporary practice; masterclasses with specialist actor trainers from around the world; unique footage direct from the legendary practitioners themselves; excerpted and full-length contemporary productions; and documentaries previously unavailable to global audiences. The video material spans more than fifty years of documented work direct from practitioners and specialists.
Located in Stratford, Ontario, Canada, the Stratford Festival is the largest classical repertory theatre company in North America. Each season, they present a dozen or more productions in different venues. This collection will launch with the following 10 filmed performances, with two more following in 2021 and a further two in 2022.
Also known as Films on Demand, the World cinema video collection provides access to online streaming titles from Africa, America, Asia, Europe, Latin America and the Middle East, including films from the silent era, from the mid-20th century, as well as award-winning contemporary works.
