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YearPlaceTitle/WriterDirector/Role
1964Duke of York's
London
A SCENT OF FLOWERS
James Saunders
DIRECTOR: Shirley Butler
ROLE: Godfrey
Clarence Derwent Award as best supporting actor of the year - 50 pounds sterling from British Actors' Equity
1965National Theatre
Old Vic
London
MUCH ADO ABOUT NOTHING (1965)
William Shakespeare

DIRECTOR: Franco Zeffirelli
ROLE: Claudio

nbsp;

1965National Theatre
Chichester Festival
Bristol; Nottingham; Chichester
ARMSTRONG'S LAST GOODNIGHT
John Arden
ROLE: Protestant Evangelist


1965National Theatre
Chichester Festival
Bristol; Nottingham; Chichester
TRELAWNEY OF THE "WELLS"
Arthur Wing Pinero

DIRECTOR: Desmond O'Donovan
ROLE: Capt. de Foenix


1965Hampstead Theatre Club and St Martin's
London
A LILY IN LITTLE INDIA
Donald Howarth

DIRECTOR: Donald Howarth
ROLE: Alvin Hanker


1966Royal Court
London
THEIR VERY OWN AND GOLDEN CITY
Arnold Wesker

DIRECTOR: John Dexter and Bill Gaskill
ROLE: Andrew Cobham
Plays amp; Players' Most Promising Actor 1966


1966Mermaid
London
THE MAN OF DESTINY / O'FLAHERTY VC
Bernard Shaw

DIRECTOR: Robert Kidd (MOD) / Peter Gill (OFVC)
ROLE: Corporal Napoleon/Private O'Flaherty V.C.


1966Oxford Playhouse
London
THE PROMISE (My Poor Marat)
Aleksei Arbuzov, translated by Ariadne Nicolaeff


DIRECTOR: Frank Hauser
ROLE: Leonidik


1967Oxford Playhouse Company
Fortune Theatre
London
THE PROMISE (1967)
Aleksei Arbuzov, translated by Ariadne Nicolaeff


DIRECTOR: Frank Hauser
ROLE: Leonidik


1967Henry Miller's
New York
THE PROMISE (Broadway)
Aleksei Arbuzov, translated by Ariadne Nicolaeff


DIRECTOR: Frank Hauser
ROLE: Leonidik


1968Lyric
London
THE WHITE LIARS / BLACK COMEDY
Peter Shaffer


ROLE: Tom/Harold Gorringe


1968The Apollo Society
Purcell Room, South Bank
London
Art Reflected
mainly English poets and writers of prose
DIRECTOR: Richard Marquand
ROLE: Reader


Cubism Famous Art

Les Desmoiselles d'Avignon (1907)

Artist: Pablo Picasso
Picasso's painting was shocking even to his closest artist friends both for its content and for its formal experimentation. The subject matter of nude women was not in itself unusual, but the fact that Picasso painted the women as prostitutes in aggressively sexual postures was novel. Their blatant sexuality was heightened by Picasso's influence from non-Western art that is most evident in the faces of three of the women, which are rendered as mask-like, suggesting that their sexuality is not just aggressive, but also primitive. The unusual formal elements of the painting were also part of its shock value. Picasso abandoned the Renaissance illusion of three-dimensionality, instead presenting a radically flattened picture plane that is broken up into geometric shards. For instance, the body of the standing woman in the center is composed of angles and sharp edges. Both the cloth wrapped around her lower body and her body itself are given the same amount of attention as the negative space around them as if all are in the foreground and all are equally important. The painting was widely thought to be immoral when it was finally exhibited in public in 1916. Braque is one of the few artists who studied it intently in 1907, leading directly to his later collaboration with Picasso. Because it predicted some of the characteristics of Cubism, Les Desmoiselles is considered proto or pre-Cubist.
Read More ...

Cubism Artworks in Focus:
70379-12 Lab-Tek reg; II Slide, 1 Chamber 2 trays 160.00 Add to Cart
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70379-82 Lab-Tek reg; II Slide, 8 Chamber 2 trays 183.00 Add to Cart
70379-84 Lab-Tek reg; II Slide, 8 Chamber 6 trays 489.00 Add to Cart
70379-86 Lab-Tek reg; II Slide, 8 Chamber 12 trays 846.00 Add to Cart

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