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Speed skating
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This article is about ice speed skating. For speed skating on wheels, see inline speed skating.
Speed skating
Paulien van Deutekom, Thialf, 2007
Highest governing body
International Skating Union
Characteristics
Mixed gender
Yes
Presence
Olympic
1924
Speed skating is a competitive form of ice skating in which the competitors race each other in travelling a certain distance on skates. Types of speed skating are long track speed skating, short track speed skating, and marathon speed skating. In the Olympic Games, long-track speed skating is usually referred to as just "speed skating", while short-track speed skating is known as "short track".[1] The ISU, the governing body of both ice sports, refers to long track as "speed skating" and short track as "short track skating".
An international federation was founded in 1892, the first for any winter sport. The sport enjoys large popularity in the Netherlands, Norway and South Korea. There are top international rinks in a number of other countries, including Canada, the United States, Germany, Italy, Japan, Russia and Kazakhstan. A World Cup circuit is held with events in those countries plus two events in the Thialf ice hall in Heerenveen, Netherlands.
Contents
[hide]
1 Overview
2 History
2.1 ISU development
2.2 Elfstedentocht
2.3 Olympic Games
2.4 Technical developments
2.5 Professionalism
2.6 North American professionals
2.7 Short track enters the Olympics
3 Rules
3.1 Short track
3.2 Long track
4 Equipment
5 See also
6 References and notes
7 Further reading
8 External links
Overview[edit]
Long track speed skating, Thialf, 2008
The standard rink for long track is 400 meters long, but tracks of 200, 250 and 333⅓ meters are used occasionally. It is one of two Olympic forms of the sport and the one with the longer history.
International Skating Union rules allow some leeway in the size and radius of curves.
Short-track speed skaters racing through a curve
Short track speed skating takes place on a smaller rink, normally the size of an ice hockey rink, on a 111.12 m oval track. Distances are shorter than in long-track racing, with the longest Olympic individual race being 1500 meters (the women's relay is 3000 meters and the men's relay 5000 meters). Event are usually held with a knockout format, with the best two in heats of four or five qualifying for the final race, where medals are awarded. Disqualifications and falls are not uncommon.
Individual start
Speed skating on a stamp
There are variations on the mass-start races. In the regulations of roller sports, eight different types of mass starts are described. Among them are elimination races, where one or more competitors are eliminated at fixed points during the course; simple distance races, which may include preliminary races; endurance races with time limits instead of a fixed distance; points races; and individual pursuits.
Races usually have some rules about disqualification if an opponent is unfairly hindered; these rules vary between the disciplines. In long track speed skating, almost any infringement on the pairmate is punished, though skaters are permitted to change from the inner to the outer lane out of the final curve if they are not able to hold the inner curve, as long as they are not interfering with the other skater. In mass-start races, skaters will usually be allowed some physical contact.
Team races are also held; in long track speed skating, the only team race at the highest level of competition is the Team pursuit, though athletics-style relay races are held at children's competitions. Relay races are also held in short track and inline competitions, but here, exchanges may take place at any time during the race, though exchanges may be banned during the last couple of laps.
Most speed skating races are held on an oval course, but there are exceptions. Oval sizes vary; in short track speed skating, the rink must be an oval of 111.12 metres, while long track speed skating uses a similarly standardized 400 m rink. Inline skating rinks are between 125 and 400 metres, though banked tracks can only be 250 metres long. Inline skating can also be held on closed road courses between 400 and 1,000 metres, as well as open-road competitions where starting and finishing lines do not coincide. This is also a feature of outdoor marathons.
In the Netherlands, marathon competitions may be held on natural ice on canals, and bodies of water such as lakes and rivers, but may also be held on artificially frozen 400 m tracks, with skaters circling the track 100 times, for example.
History[edit]
Nicolaas Bauer: Women's speed skating competition on the town canal at Leeuwarden, 1809.
Speed skating match on the Zuiderzee near Hindeloopen, Netherlands in 1828
The roots of speed skating date back over a millennium to Scandinavia, Northern Europe and the Netherlands, where the natives added bones to their shoes and used them to travel on frozen rivers, canals and lakes. In contrast to what people think, ice skating has always been an activity of joy and sports and not a matter of transport. For example, winters in the Netherlands have never been stable and cold enough to make ice skating a way of travelling or a mode of transport. This has already been described in 1194 by William Fitzstephen, who described a sport in London.
Later, in Norway, King Eystein Magnusson, later King Eystein I of Norway, boasts of his skills racing on ice legs.[clarification needed]
However, skating and speed skating was not limited to the Netherlands and Scandinavia; in 1592, a Scotsman designed a skate with an iron blade. It was iron-bladed skates that led to the spread of skating and, in particular, speed skating. By 1642, the first official skating club, The Skating Club Of Edinburgh, was born, and, in 1763, the world saw its first official speed skating race, on the Fens in England organized by the National Ice Skating Association. While in the Netherlands, people began touring the waterways connecting the 11 cities of Friesland, a challenge which eventually led to the Elfstedentocht.
By 1851, North Americans had discovered a love of the sport, and indeed the all-steel blade was later developed there. The Netherlands came back to the fore in 1889 with the organization of the first world championships. The ISU (International Skating Union) was also born in the Netherlands in 1892. By the start of the 20th century, skating and speed skating had come into its own as a major popular sporting activity.
ISU development[edit]
Jaap Eden, the first official world champion
Organized races on ice skates developed in the 19th century. Norwegian clubs hosted competitions from 1863, with races in Christiania drawing five-digit crowds.[2] In 1884, the Norwegian Axel Paulsen was named Amateur Champion Skater of the World after winning competitions in the United States. Five years later, a sports club in Amsterdam held an ice-skating event they called a world championship, with participants from Russia, the United States and the United Kingdom, as well as the host country. The Internationale Eislauf Vereinigung, now known as the International Skating Union, was founded at a meeting of 15 national representatives in Scheveningen in 1892, the first international winter sports federation. The Nederlandse Schaatsrijderbond was founded in 1882[3] and organised the world championships of 1890 and 1891.[4] Competitions were held around tracks of varying lengths—the 1885 match between Axel Paulsen and Remke van der Zee was skated on a track of 6/7 mile (1400 metres)—but the 400 metre track was standardised by the ISU in 1892, along with the standard distances for world championships, 500 m, 1500 m, 5000 m and 10,000 m. Skaters started in pairs, each to their own lane, and changed lanes for every lap to ensure that each skater completed the same distance. This is what is now known as long track speed skating. Competitions were exclusively for amateur skaters, which was enforced. Peter Sinnerud was disqualified for professionalism in 1904 and lost his world title.
Long track world records were first registered in 1891 and improved rapidly, Jaap Eden lowering the world 5000-metre record by half a minute during the Hamar European Championships in 1894. The record stood for 17 years, and it took 50 years to lower it by further half a minute.[5][6]
Elfstedentocht[edit]
Play media
Historical footage of the 1954 Elfstedentocht with Dutch commentary
The Elfstedentocht was organized as a competition in 1909 and has been held at irregular intervals, whenever the ice on the course is deemed good enough. Other outdoor races developed later, with Friesland in the northern Netherlands hosting a race in 1917, but the Dutch natural ice conditions have rarely been conducive to skating. The Elfstedentocht has been held 15 times in the nearly 100 years since 1909, and, before artificial ice was available in 1962, national championships had been held in 25 of the years between 1887, when the first championship was held in Slikkerveer, and 1961. Since artificial ice became common in the Netherlands, Dutch speed skaters have been among the world top in long track ice skating and marathon skating. Another solution to still be able to skate marathons on natural ice became the Alternative Elfstedentocht. The Alternative Elfstedentocht races take part in other countries, such as Austria, Finland or Canada, and all top marathon skaters, as well as thousands of recreative skaters, travel from the Netherlands to the location where the race is held. According to the NRC Handelsblad journalist Jaap Bloembergen, the country "takes a carnival look" during international skating championships.[7]
Olympic Games[edit]
Speed skating at the 1928 Winter Olympics in St. Moritz, Switzerland
Main article: Speed skating at the Winter Olympics
Speed Skating started in 1924. At the 1914 Olympic Congress, the delegates agreed to include ice speed skating in the 1916 Olympics, after figure skating had featured in the 1908 Olympics. However, World War I put an end to the plans of Olympic competition, and it was not until the winter sports week in Chamonix in 1924—retroactively awarded Olympic status—that ice speed skating reached the Olympic programme. Charles Jewtraw from Lake Placid, New York, won the first Olympic gold medal, though several Norwegians in attendance claimed Oskar Olsen had clocked a better time.[citation needed] Timing issues on the 500 were a problem within the sport until electronic clocks arrived in the 1960s; during the 1936 Olympic 500–metre race, it was suggested that Ivar Ballangrud's 500-metre time was almost a second too good. Finland won the remaining four gold medals at the 1924 Games, with Clas Thunberg winning 1,500 metres, 5,000 metres, and allround. It was the first and only time an allround Olympic gold medal has been awarded in speed skating. Speed Skating is also a sport in today's Olympics.
Norwegian and Finnish skaters won all the gold medals in world championships between the world wars, with Latvians and Austrians visiting the podium in the European Championships. However, North American races were usually conducted packstyle, similar to the marathon races in the Netherlands, but the Olympic races were to be held over the four ISU-approved distances. The ISU approved the suggestion that the speed skating at the 1932 Winter Olympics should be held as packstyle races, and Americans won all four gold medals. Canada won five medals, all silver and bronze, while defending World Champion Clas Thunberg stayed at home, protesting against this form of racing. At the World Championships held immediately after the games, without the American champions, Norwegian racers won all four distances and occupied the three top spots in the allround standings.
Norwegians, Swedes, Finns, and Japanese skating leaders protested to the USOC, condemning the manner of competition and expressing the wish that mass-start races were never to be held again at the Olympics. However, the ISU adopted the short track speed skating branch, with mass-start races on shorter tracks, in 1967, arranged international competitions from 1976, and brought them back to the Olympics in 1992.
Technical developments[edit]
Monique Angermüller on clap skates and in a full body-covering suit in 2008
Artificial ices entered the long track competitions with the 1960 Winter Olympics, and the competitions in 1956 on Lake Misurina were the last Olympic competitions on natural ice. 1960 also saw the first Winter Olympic competitions for women. Lidia Skoblikova won two gold medals in 1960 and four in 1964.
More aerodynamic skating suits were also developed, with Swiss skater Franz Krienbühl (who finished 8th on the Olympic 10,000 m at the age of 46) at the front of development.[8] After a while, national teams took over development of body suits, which are also used in short track skating, though without headcover attached to the suit—short trackers wear helmets instead, as falls are more common in mass-start races. Suits and indoor skating, as well as the clap skate, has helped to lower long track world records considerably; from 1971 to 2009, the average speed on the men's 1500 metres has been raised from 45 to 52 km/h. Similar speed increases are shown in the other distances.
Professionalism[edit]
After the 1972 season, European long track skaters founded a professional league, International Speedskating League, which included Ard Schenk, three-time Olympic gold medallist in 1972, as well as five Norwegians, four other Dutchmen, three Swedes, and a few other skaters. Jonny Nilsson, 1963 world champion and Olympic gold medallist, was the driving force behind the league, which folded in 1974 for economic reasons, and the ISU also excluded tracks hosting professional races from future international championships.[9] The ISU later organised its own World Cup circuit with monetary prizes, and full-time professional teams developed in the Netherlands during the 1990s, which led them to a dominance on the men's side only challenged by Japanese 500 m racers and American inline skaters who changed to long tracks to win Olympic gold.
North American professionals[edit]
During the 20th century, roller skating also developed as a competitive sport. Roller-skating races were professional from an early stage.[10] Professional World Championships were arranged in North America between the competitors on that circuit.[11] Later, roller derby leagues appeared, a professional contact sport that originally was a form of racing. FIRS World Championships of inline speed skating go back to the 1980s,[12] but many world champions, such as Derek Parra and Chad Hedrick, have switched to ice in order to win Olympic medals.
Like roller skating, ice speed skating was also professional in North America. Oscar Mathisen, five-time ISU world champion and three-time European champion, renounced his amateur status in 1916 and travelled to America, where he won many races but was beaten by Bobby McLean of Chicago, four-time American champion,[13] in one of the races. Chicago was a centre of ice speed skating in America; the Chicago Tribune sponsored a competition called the Silver Skates from 1912 to 2014.
Short track enters the Olympics[edit]
Main article: Short track speed skating at the Winter Olympics
In 1992, short track speed skating was accepted as an Olympic sport. Short track speed skating had little following in the long track speed skating countries of Europe, such as Norway, the Netherlands and the former Soviet Union, with none of these nations having won official medals (though the Netherlands won two gold medals when the sport was a demonstration event in 1988). The Norwegian publication Sportsboken spent ten pages detailing the long track speed skating events at the Albertville Games in 1993, but short track was not mentioned by word, though the results pages appeared in that section.[14]
Although this form of speed skating is newer, it is growing faster than long-track speed skating, largely because short track can be done on an ice hockey rink rather than a long-track oval.
Rules[edit]
Short track[edit]
Races are run counter-clockwise on a 111-meter track. Short track races are almost always run in a mass start format in which two to six skaters may race at once. Skaters may be disqualified for false starts, impeding, and cutting inside the track. False starts occur when a skater moves before the gun goes off at the start of a race. Skaters are disqualified for impeding when one skater cuts in front of another skater and causes the first skater to stand up to avoid collision or fall. Cutting inside the track occurs when a skater's skates goes inside the blocks which mark the track on the ice. If disqualified the skater will be given last place in their heat of final.[15]
Long track[edit]
Races are run counter-clockwise on a 400-meter oval. In all individual competition forms, only two skaters are allowed to race at once. Skaters must change lanes every lap. The skater changing from the outside lane to the inside has right-of-way. Skaters may be disqualified for false starts, impeding, and cutting inside the track. If a skater misses their race or falls they have the option to race their distance again. There are no heats or finals in long track, all rankings are by time.
The starting procedure in long-track speed skating consists of three parts. First, the referee tells the athletes to "Go to the start". Second, the referee cues the athletes to get "Ready", and waits until the skaters have stopped moving. Finally, the referee waits for a random duration between 1 and 1.5 seconds, and then fires the starting shot.[16] Some argue that this inherent timing variability could disadvantage athletes that start after longer pauses, due to the alerting effect.[17][18]
In the only non-individual competition form, the team pursuit, two teams of each three to four skaters are allowed to race at once. Both teams remain in the inner lane for the duration of the race; they start on opposite sides of the rink. If four skaters are racing one skater is allowed to drop off and stop racing. The clock stops when the third skater crosses the finish line.
Equipment[edit]
Speed skates Speed skates differ greatly from hockey skates and figure skates. Unlike hockey skates and figure skates, speed skates cut off at the ankle and are built more like a shoe than a boot to allow for more ankle compression. The blades range in length on average from 30 to 45 cm depending on the age and height of the skater. Short track blades are fixed to the boot in two places once at the heel and the other right behind the ball of the foot. Long track skates, also called clap skates, attach firmly to the boot only at the front. The heel of the boot actually detaches from the blade every stroke. This is accomplished through a spring mechanism located at the front connector. Speed skates cannot be sharpened at a shop like most skates. Instead each skater sharpens his or her own skates. This is accomplished using a jig which is a frame to hold the skates in place while they are manually sharpened.[19]
Short track All short track skaters must have speed skates, a spandex skin suit, protective helmet, specific cut proof skating gloves, knee pads and shin pads (in suit), neck guard (bib style) and ankle protection. Protective eyewear is mandatory. Many skaters wear smooth ceramic or carbon fiber tips on the left hand glove to reduce friction when their hand is on the ice at corners. All skaters who race at a national level must wear a cutproof kevlar suit to protect against being cut from another skater's blade.
Long track For long track skaters the same equipment should be worn as short track racers but with the exception of a helmet, shin pads, knee pads, and neck guard which are not required. Protective eyewear is not mandatory. The suit also does not need to be kevlar. Long track skaters wear a hood that is built into the suit.
See also[edit]
Speed skating rink
List of speed skaters
List of world records in speed skating
List of Olympic records in speed skating
Adelskalender (skating)
Fen skating
References and notes[edit]
Jump up ^ NBC's Olympics coverage
Jump up ^ (in Norwegian) Olympiske vinterleker 1924–2006, Åge Dalby, Jan Greve, Per Jorsett, ISBN 82-7286-162-3, Akilles forlag 2006, pg. 29
Jump up ^ (in Dutch) Wat is Langebaanschaatsen Archived 5 March 2009 at the Wayback Machine., KNSB.nl
Jump up ^ "History of the World Championship Allround Men". SpeedskatingResults.com. Retrieved 10 September 2012.
Jump up ^ (in Norwegian) Skøytesportens stjerner, Knut Bjørnsen and Per Jorsett, J. W. Cappelens forlag 1971, pg. 183
Jump up ^ "Evolution of the world record 5000 meters Men". SpeedskatingResults.com. Retrieved 10 September 2012.
Jump up ^ Less orange during the uneven years, from nrc.nl, published 1 July 1999
Jump up ^ (in Norwegian) Olympiske vinterleker 1924–2006, Åge Dalby, Jan Greve, Per Jorsett, ISBN 82-7286-162-3, Akilles forlag 2006, pg. 252
Jump up ^ (in Norwegian) Olympiske vinterleker 1924–2006, Åge Dalby, Jan Greve, Per Jorsett, ISBN 82-7286-162-3, Akilles forlag 2006, pg. 230
Jump up ^ Turner, James, in collaboration with Zaidman, Michael (1997). The History of Roller Skating. National Museum of Roller Skating. ISBN 0-9658192-0-5.
Jump up ^ Roller Skating 3: Types of Competition Archived 5 September 2012 at Archive.is, from hickoksprots.com. Retrieved 25 December 2006
Jump up ^ World In-Line Skating Medalists - Men Archived 3 September 2012 at Archive.is
Jump up ^ Ice Skating, The Electronic Encyclopedia of Chicago
Jump up ^ Sportsboken 1992, Schibsted forlag, ISBN 82-516-1428-7
Jump up ^ "New ContentWithLeftNav". Team USA. Retrieved 2015-10-27.
Jump up ^ International Skating Union. "Special Regulations & Technical Rules". Retrieved 2015-11-29.
Jump up ^ Dalmaijer, E.S.; Nijenhuis, B.G.; Van der Stigchel, S. (2015). "Life is unfair, and so are racing sports: some athletes can randomly benefit from alerting effects due to inconsistent starting procedures". Frontiers in Psychology. 6 (1618). doi:10.3389/fpsyg.2015.01618. Retrieved 2015-11-29.
Jump up ^ Dalmaijer, E.S.; Nijenhuis, B.G.; Van der Stigchel, S. (2016). "Commentary: Life is unfair, and so are racing sports: some athletes can randomly benefit from alerting effects due to inconsistent starting procedures". Frontiers in Psychology (7): 119. doi:10.3389/fpsyg.2016.00119. Retrieved 9 February 2016.
Jump up ^ "longtrack". www.socalspeedskating.org. Retrieved 2015-11-02.
Further reading[edit]
Dianne Holum: The Complete Handbook of Speed Skating (1984), ISBN 0-89490-051-X
USOC: A Basic Guide to Speed Skating, Griffin Publishers - Torrance, Ca. (2002), ISBN 1-58000-087-8
Barry Publow: Speed on Skates, Human Kinetics Publishers - Champaign, Ill. (1999), ISBN 0-88011-721-4
Matthias Opatz: Taschenfibel Eisschnelllauf (Pocketguide Speedskating), Lotok Publ. - Stedten-upon-Ilm, Germany (2005), ISBN 3-939088-00-5
External links[edit]
Wikimedia Commons has media related to Speed skating.
Roller Sports C. I. C. - Sport regulations, regulations of inline speed skating
International Skating Union
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Canon PowerShot SX410 IS
From Wikipedia, the free encyclopedia
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Canon PowerShot SX410 IS
Canon PowerShot SX410 IS with flash up.
Overview
Maker
Canon
Lens
Lens
24-960mm equivalent
F-numbers
f/3.5-f/5.6 at the widest
Sensor/Medium
Image sensor type
CCD
Image sensor size
6.17 x 4.55mm (1/2.3 inch type)
Maximum resolution
5152 x 3864 (20 megapixels)
Recording medium
SD, SDHC or SDXC card
Focusing
Focus areas
9 focus points
Shutter
Shutter speeds
1/4000s to 15s
Continuous shooting
0.5 frames per second
Image Processing
Image processor
DIGIC 4+
Custom WB
Yes
General
Rear LCD monitor
3 inches with 230,000 dots
Dimensions
104 x 69 x 85mm (4.09 x 2.72 x 3.35 inches)
Weight
325g including battery
Released
6 February 2015
References
[1]
The Canon PowerShot SX410 IS is a digital bridge camera announced by Canon on February 6, 2015.[1] It received little coverage, mainly used by the niche prosumer market.[citation needed]
References[edit]
Jump up ^ http://www.dpreview.com/products/canon/compacts/canon_sx410is/specifications
This camera-related article is a stub. You can help Wikipedia by expanding it.
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text:
Royal National Theatre
From Wikipedia, the free encyclopedia
Jump to: navigation, search
National Theatre
The National Theatre from Waterloo Bridge
National Theatre
Location within Central London
Address
South Bank
London, SE1
United Kingdom
Coordinates
51°30′26″N 0°06′51″W / 51.5071°N 0.1141°W / 51.5071; -0.1141Coordinates: 51°30′26″N 0°06′51″W / 51.5071°N 0.1141°W / 51.5071; -0.1141
Public transit
Waterloo
Waterloo
Designation
Grade II*
Type
National theatre
Capacity
Olivier Theatre: 1,160 seats
Lyttelton Theatre: 890 seats
Dorfman Theatre: 400 seats
Construction
Opened
1976; 41 years ago (1976)
Architect
Denys Lasdun
Website
nationaltheatre.org.uk
The National Theatre in London is one of the United Kingdom's three most prominent publicly funded performing arts venues, alongside the Royal Shakespeare Company and the Royal Opera House. Internationally, it is known as the National Theatre of Great Britain.[1]
From its foundation in 1963 until 1976, the company was based at the Old Vic theatre in Waterloo. The current building is located next to the Thames in the South Bank area of central London. In addition to performances at the National Theatre building, the National Theatre company tours productions at theatres across the United Kingdom.[2]
Since 1988, the theatre has been permitted to call itself the Royal National Theatre, but the full title is rarely used. The theatre presents a varied programme, including Shakespeare and other international classic drama; and new plays by contemporary playwrights. Each auditorium in the theatre can run up to three shows in repertoire, thus further widening the number of plays which can be put on during any one season.
In June 2009, the theatre began National Theatre Live (NT Live), a programme of simulcasts of live productions to cinemas, first in the United Kingdom and then internationally. The programme began with a production of Phèdre, starring Helen Mirren, which was screened live in 70 cinemas across the UK. NT Live productions have since been broadcast to over 2,500 venues in 60 countries around the world.
The NT had an annual turnover of approximately £105 million in 2015–16, of which earned income made up 85% (58% from ticket sales, 5% from NT Live and Digital, and 12% from commercial revenue such as in the restaurants, bookshops, etc.). Support from Arts Council England provided 17% of income, 1% from Learning and Participation activity, and the remaining 9% came from a mixture of companies, individuals, trusts and foundations.[3]
Contents
[hide]
1 Origins
2 Architecture
2.1 Theatres
2.1.1 Olivier Theatre
2.1.2 Lyttelton Theatre
2.1.3 Dorfman Theatre
2.1.4 Temporary Theatre
2.2 The National Theatre building and forecourt
3 NT Future
4 Artistic directors
5 National Theatre Studio
6 National Theatre Connections
7 National Theatre Live
8 Watch This Space Festival
9 Notable productions
9.1 1963–1973
9.2 1974–1987
9.3 1988–1997
9.4 1998–2002
9.5 2003–2014
9.6 2015–present
10 Gallery
11 See also
12 Notes
13 Bibliography
14 Further reading
15 External links
Origins[edit]
In 1847, a critic using the pseudonym Dramaticus published a pamphlet[4] describing the parlous state of British theatre. Production of serious plays was restricted to the patent theatres, and new plays were subjected to censorship by the Lord Chamberlain's Office. At the same time, there was a burgeoning theatre sector featuring a diet of low melodrama and musical burlesque; but critics described British theatre as driven by commercialism and a 'star' system. There was a demand to commemorate serious theatre, with the "Shakespeare Committee" purchasing the playwright's birthplace for the nation demonstrating a recognition of the importance of 'serious drama'. The following year saw more pamphlets on a demand for a National Theatre from London publisher Effingham William Wilson.[5] The situation continued, with a renewed call every decade for a National Theatre. Attention was aroused in 1879 when the Comédie-Française took a residency at the Gaiety Theatre, described in The Times as representing "the highest aristocracy of the theatre". The principal demands now coalesced around: a structure in the capital that would present "exemplary theatre"; that would form a permanent memorial to Shakespeare; a supported company that would represent the best of British acting; and a theatre school.[6]
The Shakespeare Memorial Theatre was opened in Stratford upon Avon on 23 April 1879, with the New Shakespeare Company (now the Royal Shakespeare Company); and Herbert Beerbohm Tree founded an Academy of Dramatic Art at Her Majesty's Theatre in 1904. This still left the capital without a national theatre. A London Shakespeare League was founded in 1902 to develop a Shakespeare National Theatre and – with the impending tri-centenary in 1916 of his death – in 1913 purchased land for a theatre in Bloomsbury. This work was interrupted by World War I.
In 1910, George Bernard Shaw wrote a short comedy, The Dark Lady of the Sonnets, in which Shakespeare himself attempts to persuade Elizabeth I of the necessity of building a National Theatre to stage his plays. The play was part of the long-term campaign to build a National Theatre.
Finally, in 1948, the London County Council presented a site close to the Royal Festival Hall for the purpose, and a "National Theatre Act", offering financial support, was passed by Parliament in 1949.[7] Ten years after the foundation stone had been laid in 1951, the Government declared that the nation could not afford a National Theatre; in response the LCC offered to waive any rent and pay half the construction costs. Still, the Government tried to apply unacceptable conditions to save money; attempting to force the amalgamation of the existing publicly supported companies: the RSC, Sadler's Wells and Old Vic.[7]
In July 1962, with agreements finally reached, a board was set up to supervise construction, and a separate board was constituted to run a National Theatre Company and lease the Old Vic theatre. The "National Theatre Company" opened on 22 October 1963 with Hamlet.
The current building was designed by architects Sir Denys Lasdun and Peter Softley and structural engineers Flint & Neill and contains three stages, which opened individually between 1976 and 1977.[8] The construction work was carried out by Sir Robert McAlpine.[9]
The Company was to remain at the Old Vic until 1977, when construction of the Olivier was complete.[7]
Architecture[edit]
Theatres[edit]
The National Theatre building houses three separate theatres. Additionally, a temporary structure was added in April 2013 and closed in May 2016.
Olivier Theatre[edit]
Named after the theatre's first artistic director, Laurence Olivier, this is the main auditorium, modelled on the ancient Greek theatre at Epidaurus; it has an open stage and a fan-shaped audience seating area for 1100 people. A 'drum revolve' (a five-storey revolving stage section) extends eight metres beneath the stage and is operated by a single staff member. The drum has two rim revolves and two platforms, each of which can carry ten tonnes, facilitating dramatic and fluid scenery changes. Its design ensures that the audience's view is not blocked from any seat, and that the audience is fully visible to actors from the stage's centre. Designed in the 1970s and a prototype of current technology, the drum revolve and a multiple 'sky hook' flying system were initially very controversial and required ten years to commission, but seem to have fulfilled the objective of functionality with high productivity.[10]
Lyttelton Theatre[edit]
Named after Oliver Lyttelton, the National Theatre's first board chairman, it has a proscenium arch design and can accommodate an audience of 890.
Dorfman Theatre[edit]
Named after Lloyd Dorfman (philanthropist and chairman of Travelex Group),[11] the Dorfman is " the smallest, the barest and the most potentially flexible of the National Theatre houses . . . a dark-walled room", audience capacity 400.[12] It was formerly known as the Cottesloe (named after Lord Cottesloe, chairman of the South Bank Theatre board), a name which ceased to be used with the theatre's closure under the National's NT Future redevelopment.
The enhanced[12] theatre reopened in September 2014 under its new name.[13]
Temporary Theatre[edit]
The Temporary Theatre, formerly called The Shed, was a 225-seat black box theatre which opened in April 2013 and celebrated new works.[14] The theatre closed in May 2016.[15]
In 2015 British artist Carl Randall painted a portrait of actress Katie Leung standing in front of The Shed as part of the artist's 'London Portraits' series, where he asked various cultural figures to choose a place in London for the backdrop of their portraits.[16][17] Leung explained she chose The Shed as her backdrop because she performed there in the 2013 play The World of Extreme Happiness, and also because "... its a temporary theatre, it's not permanent, and I wanted to make it permanent in the portrait".[18][19]
The National Theatre building and forecourt[edit]
Denys Lasdun's building for the National Theatre – an "urban landscape" of interlocking terraces responding to the site at King's Reach on the River Thames to exploit views of St Paul's Cathedral and Somerset House.
The riverside forecourt of the theatre is used for regular open-air performances in the summer months. The terraces and foyers of the theatre complex have also been used for ad hoc experimental performances. The decor is frequently dynamic, with recent displays of grass turf as 'outside wallpaper', different statues located in various random places and giant chairs and furniture in the forecourt. The National Theatre's foyers are open to the public, with a large theatrical bookshop, restaurants, bars and exhibition spaces.
Backstage tours run throughout the day and the Sherling High Level Walkway, open daily until 7.30 pm, offers visitors views into the backstage production workshops for set construction and assembly, scenic painting and prop-making.
The Clore Learning Centre is a new dedicated space for Learning at the National Theatre. Offering events and courses for all ages, exploring theatre-making from playwriting to technical skills, often led by the NT's own artists and staff.
The dressing rooms for all actors are arranged around an internal lightwell and airshaft and so their windows each face each other. This arrangement has led to a tradition whereby on the opening night (known as 'press night') and closing night of any individual play, when called to go to 'beginners' (opening positions), the actors will go to the window and drum on the glass with the palms of their hands.[20]
The style of the National Theatre building was described by Mark Girouard as "an aesthetic of broken forms" at the time of opening. Architectural opinion was split at the time of construction. Even enthusiastic advocates of the Modern Movement such as Sir Nikolaus Pevsner have found the Béton brut concrete both inside and out overbearing. Most notoriously, Prince Charles described the building in 1988 as "a clever way of building a nuclear power station in the middle of London without anyone objecting". Sir John Betjeman, however, a man not noted for his enthusiasm for brutalist architecture, was effusive in his praise and wrote to Lasdun stating that he "gasped with delight at the cube of your theatre in the pale blue sky and a glimpse of St. Paul's to the south of it. It is a lovely work and so good from so many angles...it has that inevitable and finished look that great work does."[21]
Despite the controversy, the theatre has been a Grade II* listed building since 1994.[22] Although the theatre is often cited as an archetype of Brutalist architecture in England, since Lasdun's death the building has been re-evaluated as having closer links to the work of Le Corbusier, rather than contemporary monumental 1960s buildings such as those of Paul Rudolph.[23] The carefully refined balance between horizontal and vertical elements in Lasdun's building has been contrasted favourably with the lumpiness of neighbouring buildings such as the Hayward Gallery and Queen Elizabeth Hall. It is now in the unusual situation of having appeared simultaneously in the top ten "most popular" and "most hated" London buildings in opinion surveys. A recent lighting scheme illuminating the exterior of the building, in particular the fly towers, has proved very popular, and is one of several positive artistic responses to the building.
In September 2007 a statue of Lord Olivier as Hamlet was unveiled outside the building, to mark the centenary of the National's first artistic director.
The National also has a Studio, the National's research and development wing, founded in 1984. The Studio has played a vital role in developing work for the National's stages and throughout British theatre. Writers, actors and practitioners of all kinds can explore, experiment and devise new work there, free from the pressure of public performance. The National Theatre Archive is housed in the same building, which is across the road from the Old Vic in the Cut, Waterloo, and used to house their workshops.
NT Future[edit]
2013 saw the commencement of the 'NT Future' project; a redevelopment of the National Theatre complex which it was estimated would cost about £80m.[24]
Artistic directors[edit]
Sir Laurence Olivier (1963–1973)
Sir Peter Hall (1973–1988)
Sir Richard Eyre (1988–1997)
Sir Trevor Nunn (1997–2003)
Sir Nicholas Hytner (2003–2015)
Rufus Norris (2015–)
Laurence Olivier was the first artistic director of the Royal National Theatre, in 1963. Shown in a photograph by Carl Van Vechten, 1939
Laurence Olivier became artistic director of the National Theatre at its formation in 1963. He was considered the foremost British film and stage actor of the period, and became the first director of the Chichester Festival Theatre – there forming the company that would unite with the Old Vic Company to form the National Theatre Company. In addition to directing, he continued to appear in many successful productions. He became a life peer in 1970, for his services to theatre, and retired in 1973.
Peter Hall took over, to manage the move to the South Bank. His career included running the Arts Theatre between 1956 and 1959 – where he directed the English language première of Samuel Beckett's Waiting for Godot. He went on to take over the Memorial Theatre at Stratford, and to create the permanent Royal Shakespeare Company, in 1960, also establishing a new RSC base at the Aldwych Theatre for transfers to the West End. He was artistic director at the National Theatre between 1973 and 1988; and continued to direct major performances for both the National and the RSC as well as running his own company at The Old Vic and summer seasons at the Theatre Royal, Bath. In 2008, he opened a new theatre, The Rose, and remains its director emeritus.
One of the National's associate directors, Richard Eyre became artistic director in 1988; his experience included running the Royal Lyceum Theatre, Edinburgh and the Nottingham Playhouse. He was noted for his series of collaborations with David Hare on the state of contemporary Britain.
In 1997, Trevor Nunn became artistic director. He came to the National from the RSC, having undertaken a major expansion of the company into the Swan, The Other Place and the Barbican Theatres. He brought a more populist style to the National, introducing musical theatre to the repertoire.
In April 2003, Nicholas Hytner took over as Artistic Director. He previously worked as an associate director with the Royal Exchange Theatre and the National. A number of his successful productions have been made into films. In April 2013 Hytner announced he would step down as artistic director at the end of March 2015.[25][26]
Amongst Hytner's innovations were NT Future, the National Theatre Live initiative of simulcasting live productions, and the Entry Pass scheme, allowing young people under the age of 26 to purchase tickets for £5 to any production at the theatre.
Rufus Norris took over as Artistic Director in March 2015. He is the first figure to hold the role without Oxbridge education since Laurence Olivier.
Facing east; towards the City of London, from Waterloo Bridge. Showing St. Paul's, and other major City buildings – to the right, the illuminated National Theatre.
National Theatre Studio[edit]
The National Theatre Studio is a development space on The Cut, founded in 1985 under the directorship of Peter Gill, who ran it until 1990.[27] The studio houses work in progress such as play readings and workshops, and provides a venue for professional training.
The studio is housed in a Grade II listed building designed by architects Lyons Israel Ellis. Completed in 1958, the building was refurbished by architects Haworth Tompkins and reopened in Autumn 2007.
Laura Collier became Head of the Studio in November 2011, replacing Purni Morrell who headed the Studio from 2006.[28]
Under the leadership of Rufus Norris, the Studio and the Literary Department merged to become the New Work Department, led by Emily McLaughlin as Head of New Work.
National Theatre Connections[edit]
Main article: National Theatre Connections
This is the annual youth theatre scheme, founded in 1995.
National Theatre Live[edit]
Main article: National Theatre Live
National Theatre Live is an initiative to broadcast live and recorded performances of the best of British theatre to cinemas around the world.
It launched in June 2009 with a broadcast of Racine's Phèdre with Helen Mirren, which was shown in over 200 cinemas around the world and seen by a worldwide audience of more than 50,000 people. The season continued with Shakespeare's All's Well That Ends Well; Nation, based on the novel by Terry Pratchett and adapted by Mark Ravenhill; and Alan Bennett's The Habit of Art. The season concluded with Boucicault's London Assurance with Fiona Shaw and Simon Russell Beale.
The second season of broadcasts launched with an encore screening of Phèdre. The first NT Live collaboration with another British theatre company saw Complicite's A Disappearing Number, broadcast live from Theatre Royal, Plymouth. The season continued with Shakespeare's Hamlet and the musical Fela!. The second collaborative broadcast was King Lear with Derek Jacobi, live from Covent Garden's Donmar Warehouse. NT Live then broadcast two separate performances of a production: throughout the run of Frankenstein, Benedict Cumberbatch and Jonny Lee Miller alternated the roles of Victor Frankenstein and the Creature, and audiences in cinemas had the chance to see both combinations. The second season concluded on 30 June 2011 with Anton Chekhov's The Cherry Orchard, with Zoe Wanamaker.
The third season of broadcasts launched on 15 September 2011 with One Man, Two Guvnors with James Corden. This was followed by Arnold Wesker's The Kitchen. The final broadcast of 2011 was John Hodge's Collaborators with Simon Russell Beale. In 2012 Nicholas Wright's play Travelling Light was broadcast on 9 February, followed by The Comedy of Errors with Lenny Henry on 1 March and She Stoops to Conquer with Katherine Kelly, Steve Pemberton and Sophie Thompson on 29 March.
One Man, Two Guvnors returned to cinema screens in the United States, Canada and Australia for a limited season in Spring 2012. Danny Boyle's Frankenstein also returned to cinema screens worldwide for a limited season in June and July 2012.
The fourth season of broadcasts commenced on Thursday 6 September 2012 with The Curious Incident of the Dog in the Night-Time, a play based on the international best-selling novel by Mark Haddon. This was followed by The Last of the Haussmans, a new play by Stephen Beresford starring Julie Walters, Rory Kinnear and Helen McCrory on 11 October 2012. William Shakespeare's Timon of Athens followed on 1 November 2012 starring Simon Russell Beale as Timon. On 17 January 2013, NT Live broadcast Arthur Wing Pinero's The Magistrate, with John Lithgow.[29]
The performances to be filmed and broadcast are nominated in advance, allowing planned movement of cameras with greater freedom in the auditorium.
Watch This Space Festival[edit]
The annual "Watch This Space Festival" is a free summer-long celebration of outdoor theatre, circus and dance. It has events for all ages, including workshops and classes for children and adults. Theatre Square in front of the building is covered in astroturf and the giant green three piece suite sculpture (entitled 'Armchair Theatre') is very much the festival's trademark. "Watch This Space" has strong national and international relationships with leading and emerging companies working in many different aspects of the outdoor arts sector. Significant collaborators and regular visitors include Teatr Biuro Podrozy, The Whalley Range All Stars, Home Live Art, Addictive TV, Men in Coats, Upswing, Circus Space, Les Grooms, StopGAP Dance Theatre, metro-boulot-dodo, Avanti Display, The Gandinis, Abigail Collins, The World Famous, Ida Barr (Christopher Green), Motionhouse, Mat Ricardo, The Insect Circus, Bängditos Theater, Mimbre, Company FZ, WildWorks, Bash Street Theatre, Markeline, The Chipolatas, The Caravan Gallery, Sienta la Cabeza, Theatre Tuig, Producciones Imperdibles and Mario Queen of the Circus.[30]
The festival was set up by its first producer Jonathan Holloway, who was succeeded in 2005 by Angus MacKechnie.
Whilst the Theatre Square space is occupied by the Temporary Theatre, the "Watch This Space Festival" festival has been suspended.[31]
In 2013 the National announced that there would be a small summer festival entitled 'August Outdoors' in Theatre Square. Playing Fridays and Saturdays only, the programme included The Sneakers and The Streetlights by Half Human Theatre, The Thinker by Stuff & Things, H2H by Joli Vyann, Screeving by Urban Canvas, Pigeon Poo People by The Natural Theatre Company, Capses by Laitrum, Bang On!, Caravania! by The Bone Ensemble, The Hot Potato Syncopators, Total Eclipse of the Head by Ella Good and Nicki Kent, The Caravan Gallery, Curious Curios by Kazzum Theatre and The Preeners by Canopy.[32]
Notable productions[edit]
1963–1973[edit]
In 1962, the company of The Old Vic theatre was dissolved, and reconstituted as the "National Theatre Company" opening on 22 October 1963 with Hamlet. The company remained based in The Old Vic until the new buildings opened in February 1976.
Hamlet, directed by Laurence Olivier, with Peter O'Toole in the title-role and Michael Redgrave as Claudius (1963)
The Recruiting Officer, directed by William Gaskill with Laurence Olivier as Captain Brazen, Maggie Smith as Sylvia and Robert Stephens as Captain Plume (1963).
Othello, directed by John Dexter, with Laurence Olivier in the title-role, Frank Finlay as Iago and Maggie Smith as Desdemona (1964)
The Royal Hunt of the Sun by Peter Shaffer, directed by John Dexter (1964); the National's first world premiere
Miss Julie by August Strindberg, directed by Michael Elliott with Albert Finney and Maggie Smith in a double bill with Black Comedy by Peter Shaffer, directed by John Dexter with Derek Jacobi and Maggie Smith. (1965/66)
As You Like It directed by Clifford Williams, the all-male production with Ronald Pickup as Rosalind, Jeremy Brett as Orlando, Charles Kay as Celia, Derek Jacobi as Touchstone, Robert Stephens as Jaques (1967)
Rosencrantz and Guildenstern Are Dead by Tom Stoppard, directed by Derek Goldby, with John Stride and Edward Petherbridge (1967)
The Dance of Death by August Strindberg, with Laurence Olivier as Edgar, Geraldine McEwan as Alice and Robert Stephens as Kurt (1967)
Oedipus by Seneca translated by Ted Hughes, directed by Peter Brook, with John Gielgud as Oedipus, Irene Worth as Jocasta (1968)
The Merchant of Venice, directed by Jonathan Miller, with Laurence Olivier as Shylock and Joan Plowright as Portia (1970)
Hedda Gabler by Henrik Ibsen, directed by Ingmar Bergman, with Maggie Smith as Hedda (1970)
Long Day's Journey into Night by Eugene O'Neill, directed by Michael Blakemore, with Laurence Olivier as James Tyrone (1971)
Jumpers by Tom Stoppard, directed by Peter Wood, starring Michael Hordern and Diana Rigg (1972)
The Misanthrope by Molière, translated by Tony Harrison, directed by John Dexter with Alec McCowen and Diana Rigg (1973–74)
1974–1987[edit]
The Tempest with John Gielgud as Prospero, directed by Peter Hall (1974)
Eden End by J.B. Priestley, with Joan Plowright as Stella and Michael Jayston as Charles (1974)
No Man's Land by Harold Pinter, directed by Peter Hall, with Ralph Richardson and John Gielgud (1975)
Illuminatus!, an eight-hour five-play cycle from Ken Campbell's The Science Fiction Theatre of Liverpool (1977)
Bedroom Farce by Alan Ayckbourn, directed by Peter Hall (1977)
Lark Rise by Keith Dewhurst, directed by Bill Bryden (1978)
Tales from the Vienna Woods by Ödön von Horváth, translated by Christopher Hampton, directed by Maximilian Schell, with Stephen Rea and Kate Nelligan
Plenty by David Hare, directed by the author, with Stephen Moore and Kate Nelligan (1978)
Amadeus by Peter Shaffer, directed by Peter Hall, with Paul Scofield and Simon Callow (1979–80)
Galileo, by Bertolt Brecht, translated by Howard Brenton directed by John Dexter with Michael Gambon (1980)
The Romans in Britain by Howard Brenton, directed by Michael Bogdanov, subject of a private prosecution by Mary Whitehouse (1980)
The Oresteia by Aeschylus, translated by Tony Harrison, directed by Peter Hall (1981)
A Kind of Alaska, one-act play by Harold Pinter, directed by Peter Brook, with Judi Dench. Inspired by Awakenings, by Oliver Sacks. (1982)
Guys and Dolls, the National's first musical, directed by Richard Eyre, starring Bob Hoskins, Julia McKenzie, Ian Charleson, and Julie Covington (1982)
Glengarry Glen Ross by David Mamet, directed by Bill Bryden (1983)
Jean Seberg, musical with a book by Julian Barry, lyrics by Christopher Adler, and music by Marvin Hamlisch; directed by Peter Hall (1983)
Fool for Love by Sam Shepard, starring Ian Charleson and Julie Walters, directed by Peter Gill (1984)
The Mysteries from medieval Mystery plays in a version by Tony Harrison, directed by Bill Bryden (1985)
Pravda by Howard Brenton and David Hare, directed by David Hare, with Anthony Hopkins (1985)
"The American Clock" by Arthur Miller, directed by Peter Wood (1986)
Antony and Cleopatra directed by Peter Hall, with Anthony Hopkins and Judi Dench (1987)
Happy Birthday, Sir Larry directed by Mike Ockrent and Jonathan Myerson, with a cast including Peggy Ashcroft, Peter Hall, Antony Sher, Albert Finney (31 May 1987) an 80th Birthday Tribute to Sir Laurence Olivier[33]
1988–1997[edit]
Cat on a Hot Tin Roof, directed by Howard Davies, starring Ian Charleson and Lindsay Duncan (1988)
Fuente Ovejuna by Lope de Vega, translated by Adrian Mitchell, directed by Declan Donnellan (1989)
Hamlet, starring Daniel Day Lewis and Judi Dench, later Ian Charleson, directed by Richard Eyre (1989)
The Voysey Inheritance, starring Jeremy Northam, directed by Richard Eyre
Richard III starring Ian McKellen and directed by Richard Eyre (1990)
Sunday in the Park with George by Stephen Sondheim and James Lapine, directed by Steven Pimlott (British premiere) (1990)
The Madness of George III by Alan Bennett, directed by Nicholas Hytner, starring Nigel Hawthorne (1991)
Angels in America by Tony Kushner, directed by Declan Donnellan (1991–92)
Carousel by Richard Rodgers and Oscar Hammerstein II, directed by Nicholas Hytner (1993)
An Inspector Calls by J. B. Priestley, directed by Stephen Daldry (1992)
Racing Demon, Murmuring Judges, and The Absence of War, by David Hare, directed by Richard Eyre (1993)
Arcadia by Tom Stoppard, directed by Trevor Nunn (1993)
Sweeney Todd by Stephen Sondheim and Hugh Wheeler, directed by Declan Donnellan (1993)
Les Parents terribles by Jean Cocteau, directed by Sean Mathias (1994)
Women of Troy by Euripides, directed by Annie Castledine, starring Josette Bushell-Mingo, Rosemary Harris and Jane Birkin (1995)
A Little Night Music by Stephen Sondheim and Hugh Wheeler, directed by Sean Mathias, with Judi Dench (1995)
Anna Karenina adapted by Helen Edmundson, with Anne-Marie Duff (1996)[34]
King Lear directed by Richard Eyre, with Ian Holm (1997)
The Caucasian Chalk Circle by Bertolt Brecht, translated by Frank McGuinness, directed by Simon McBurney (1997)
1998–2002[edit]
Copenhagen by Michael Frayn, directed by Michael Blakemore (1998)
Oklahoma! by Richard Rodgers and Oscar Hammerstein, directed by Trevor Nunn, with Maureen Lipman and Hugh Jackman (1998)
Candide by Leonard Bernstein, directed by John Caird assisted by Trevor Nunn (1999)
The Merchant of Venice directed by Trevor Nunn, with Henry Goodman (1999)
Summerfolk by Maxim Gorky, directed by Trevor Nunn (1999)
Honk!, Laurence Olivier Award winner (1999)
Money by Edward Bulwer-Lytton, directed by John Caird (1999)
Albert Speer by David Edgar, with Alex Jennings (2000)
Blue/Orange by Joe Penhall directed by Roger Michell, with Chiwetel Ejiofor, Bill Nighy and Andrew Lincoln (2000)
The Island by Athol Fugard, John Kani, and Winston Ntshona, directed by Peter Brook and performed by Kani and Ntshona (2000)
Far Side of the Moon written, directed and performed by Robert Lepage (2001)
Humble Boy by Charlotte Jones directed by John Caird, with Simon Russell Beale (2001)
South Pacific by Richard Rodgers and Oscar Hammerstein, directed by Trevor Nunn, with Philip Quast who won the 2002 Olivier Award for Best Actor in a Musical (2001)
The Winter's Tale by William Shakespeare directed by Nicholas Hytner, with Alex Jennings and Phil Daniels (2001)
Vincent in Brixton by Nicholas Wright, directed by Richard Eyre, with Clare Higgins (2002)
The Coast of Utopia, a trilogy by Tom Stoppard, comprising: Voyage, Shipwreck and Salvage, directed by Trevor Nunn, with computerised video designs by William Dudley (2002)
Anything Goes by Cole Porter, directed by Trevor Nunn, with John Barrowman and Sally Ann Triplett (2002)
Dinner by Moira Buffini, with Harriet Walter, Nicholas Farrell and Catherine McCormack, directed by Fiona Buffini (2002)
2003–2014[edit]
Jerry Springer: The Opera, a musical by Stewart Lee and Richard Thomas (2003)
Henry V by William Shakespeare. A notable modern dress version directed by Nicholas Hytner starring Adrian Lester (2003)
His Dark Materials, a two-part adaptation of Philip Pullman's novel directed by Nicholas Hytner starring Anna Maxwell Martin, Dominic Cooper, Patricia Hodge and Niamh Cusack (2003)
The History Boys by Alan Bennett directed by Nicholas Hytner starring Richard Griffiths (2004)
Coram Boy by Helen Edmundson, with Bertie Carvel and Paul Ritter (2005-2006) [35]
Laurence Olivier Celebratory Performance directed by Nicholas Hytner and Angus MacKechnie. A one-off tribute to Lord Laurence Olivier, the National's first director, in his centenary year and starring Richard Attenborough, Claire Bloom, Rory Kinnear, and Alex Jennings (23 September 2007)
War Horse based on a novel by Michael Morpurgo, adapted by Nick Stafford, directed by Marianne Elliott and Tom Morris, presented in association with Handspring (2007–2009)
Much Ado About Nothing, directed by Nicholas Hytner, with Simon Russell Beale and Zoë Wanamaker (2007–2008)
Never So Good by Howard Brenton, directed by Howard Davies with Jeremy Irons (2008)
Mother Courage and Her Children, by Bertolt Brecht, with Fiona Shaw (2009)
Phèdre featuring Helen Mirren, Margaret Tyzack and Dominic Cooper (2009)
The Habit of Art, by Alan Bennett, with Richard Griffiths (2010)
Frankenstein, directed by Danny Boyle and starring Benedict Cumberbatch and Jonny Lee Miller (2011)
One Man, Two Guvnors, based on Servant of Two Masters by Richard Bean, with James Corden, directed by Nicholas Hytner (2011)[36]
London Road, a musical by Alecky Blythe and Adam Cork, (2011)
The Curious Incident of the Dog in the Night-Time by Simon Stephens, adapted from the novel of the same name by Mark Haddon, with Luke Treadaway, Nicola Walker and Niamh Cusack.(2012).[37]
Othello by William Shakespeare with Adrian Lester and Rory Kinnear, (2013)
National Theatre: 50 years on stage, to celebrate the 50th anniversary a selection of scenes from various productions in the National Theatre's history, featuring Angels in America, One Man, Two Guvnors, London Road, Jerry Springer: The Opera and Guys and Dolls, featuring Adrian Lester, Helen Mirren, Joan Plowright, Judi Dench, Rory Kinnear and Alex Jennings. (2013)
King Lear by William Shakespeare, with Simon Russell Beale, directed by Sam Mendes (2014)[38]
2015–present[edit]
Everyman adapted by Carol Ann Duffy, starring Chiwetel Ejiofor, directed by Rufus Norris (2015)
People, Places & Things by Duncan MacMillan, directed by Jeremy Herrin, starring Denise Gough (2015)
Cleansed by Sarah Kane, directed by Katie Mitchell (2016)
The Threepenny Opera by Bertolt Brecht with music by Kurt Weill, a new adaptation by Simon Stephens, directed by Rufus Norris, starring Rosalie Craig and Rory Kinnear (2016)
The Deep Blue Sea by Terence Rattigan, directed by Carrie Cracknell starring Helen McCrory (2016)
Amadeus by Peter Shaffer, directed by Michael Longhurst, starring Lucian Msamati and Adam Gillen (2016 and 2018)
Hedda Gabler by Henrik Ibsen, directed by Ivo van Hove, starring Ruth Wilson, a re-working of the production previously staged at the Toneelgrope Amsterdam and the New York Theatre Workshop (2016)
Angels in America by Tony Kushner, directed by Marianne Elliot, starring Andrew Garfield, Denise Gough, James McArdle, Russell Tovey and Nathan Lane (2017)
Follies music and lyrics by Stephen Sondheim and book by James Goldman, directed by Dominic Cooke, starring Imelda Staunton, Janie Dee, Philip Quast and Tracie Bennett (2017)
Beginning by David Eldridge, directed by Polly Findlay (2017)
Network directed by Ivo van Hove, based on the Sidney Lumet film, adapted by Lee Hall, starring Bryan Cranston (2017)
Gallery[edit]
An artistic lighting scheme illuminating the exterior of the building
The statue of Laurence Olivier as Hamlet was unveiled in September 2007
The terrace entrance between the mezzanine restaurant level and the Olivier cloakroom level, reached from halfway up/down Waterloo Bridge
The main entrance on the ground floor
The ensemble shows a varying range of geometric relationships.
See also[edit]
National Youth Theatre
National Theatre of Scotland
National Theatre of Wales
Wales Millennium Centre
National Theatre of Ireland
List of Royal National Theatre Company actors
Notes[edit]
Jump up ^ Lister, David (11 January 2003). "Wales and Scotland need a cultural revolution". The Independent. London.
Jump up ^ "National Theatre Near You". Royal National Theatre. Archived from the original on 3 February 2015. Retrieved 20 January 2015.
Jump up ^ National Theatre Annual Report 2012-13
Jump up ^ Dramaticus The stage as it is (1847)
Jump up ^ Effingham William Wilson A House for Shakespeare. A proposition for the consideration of the Nation and a Second and Concluding Paper (1848)
Jump up ^ Woodfield, James (1984). English Theatre in Transition, 1881–1914: 1881–1914. Rowman & Littlefield. pp. 95–107. ISBN 0-389-20483-8.
^ Jump up to: a b c Findlater, Richard The Winding Road to King's Reach (1977), also in Callow. Retrieved 1 July 2008.
Jump up ^ "Denys Lasdun and Peter Hall talk about the building". History of the NT. Royal National Theatre. Archived from the original on 22 July 2010. Retrieved 1 October 2009.
Jump up ^ "A portrait of achievement" (PDF). Sir Robert McAlpine. Archived from the original (PDF) on 8 May 2016. Retrieved 24 April 2016.
Jump up ^ History of the Drum Revolve at National Theatre website
Jump up ^ Brown, Mark "National Theatre's Cottesloe venue to be renamed after £10m donor" The Guardian, 28 October 2010. Retrieved 5 December 2010.
^ Jump up to: a b National Theatre website. Retrieved 29 August 2014
Jump up ^ "national's doorman theatre open fatboy slim musical", The Stage. Retrieved 29 August 2014
Jump up ^ "Temporary Theatre". Royal National Theatre.
Jump up ^ "National Theatre reveals closing date for Temporary Theatre". The Stage. 19 April 2016.
Jump up ^ Carl Randall's 'London Portraits' on display in National Portrait Gallery., The Royal Drawing School, London, 2016
Jump up ^ Actress Katie Leung and The Shed., Carl Randall's artist website, 2016
Jump up ^ Carl Randall's London Portraits - Video Documentary., The Daiwa Anglo Japanese Foundation London, 2016
Jump up ^ London Portraits - Video Documentary., Youtube, 2016
Jump up ^ Lithgow, John (13 January 2013). "A Lone Yank Takes Joy in Togetherness". The New York Times. p. AR7. Retrieved 16 May 2013.
Jump up ^ Pearman, Hugh (21 January 2001). "Gabion: The legacy of Lasdun 2/2". Archived from the original on 5 March 2012. Retrieved 25 April 2008.
Jump up ^ "Detailed Record". Retrieved 25 April 2008.
Jump up ^ Rykwert, Joseph (12 January 2001). "Sir Denys Lasdun obituary". The Independent. London. Archived from the original on 30 September 2007. Retrieved 22 January 2007.
Jump up ^ "Welcome to National Theatre NT Future", Royal National Theatre. Retrieved 6 April 2013.
Jump up ^ Charlotte Higgins, "Sir Nicholas Hytner to step down as National Theatre artistic director", The Guardian, 10 April 2013. Retrieved 6 May 2013.
Jump up ^ "Sir Nicholas Hytner to leave National Theatre", BBC News, 10 April 2013. Retrieved 6 May 2013.
Jump up ^ Cavendish, Dominic (28 November 2007). "National Theatre Studio: More power to theatre's engine room – Telegraph". The Daily Telegraph. London. Retrieved 25 April 2008.
Jump up ^ "Collier to Head NT Studio", The British Theatre Guide, 20 October 2011. Retrieved 6 April 2013.
Jump up ^ The Magistrate. Royal National Theatre.
Jump up ^ "Watch This Space Festival", Royal National Theatre
Jump up ^ "Watch This Space Festival", Royal National Theatre
Jump up ^ "Watch this Space presents August Outdoors". Royal National Theatre. Archived from the original on 5 August 2013.
Jump up ^ Theatre programme for Happy Birthday, Sir Larry, dated 31 May 1987
Jump up ^ https://www.independent.co.uk/arts-entertainment/theatre-dance/features/tolstoys-epic-novel-war-and-peace-has-been-reduced-to-just-a-few-hours-on-stage-779095.html
Jump up ^ https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/coram-boy-national-theatre-london-6229494.html
Jump up ^ ''One Man, Two Guvnors''. Onemantwoguvnors.com.
Jump up ^ ''The Curious Incident of the Dog in the Night-Time''. Royal National Theatre.
Jump up ^ ''King Lear''. Royal National Theatre.
Bibliography[edit]
Elsom, John and Tomalin, Nicholas (1978): The History of the National Theatre. Jonathan Cape, London. ISBN 0-224-01340-8.
Hall, Peter, (edited Goodwin, John) (1983): Peter Hall's Diaries: The Story of a Dramatic Battle (1972–79). Hamish Hamilton, London. ISBN 0-241-11047-5.
Goodwin, Tim (1988), Britain's Royal National Theatre: The First 25 Years. Nick Hern Books, London. ISBN 1-85459-070-7.
Callow, Simon (1997): The National: The Theatre and its Work, 1963–1997. Nick Hern Books, London. ISBN 1-85459-318-8.
Further reading[edit]
Rosenthal, Daniel (2013). The National Theatre Story. Oberon Books: London. ISBN 978-1-84002-768-6
External links[edit]
Wikimedia Commons has media related to National Theatre, London.
Official website
NT Live
NT Connections
History of the National Theatre with archive images and press reports on the building at The Music Hall and Theatre Site dedicated to Arthur Lloyd
Shakespeare at the National Theatre, 1967–2012, compiled by Daniel Rosenthal, on Google Arts & Culture
National Theatre’s Black Plays Archive, supported by Sustained Theatre and Arts Council England
[show]
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Artistic Directors of the Royal National Theatre
Laurence Olivier (1963)
Peter Hall (1973)
Richard Eyre (1988)
Trevor Nunn (1997)
Nicholas Hytner (2003)
Rufus Norris (2015)
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WorldCat Identities
VIAF: 137020540
ISNI: 0000 0004 0560 6036
GND: 1056182-1
SUDOC: 031994032
BNF: cb123107065 (data)
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This page was last edited on 2 November 2017, at 15:22.
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