Gallery
| Video | Location | Description | |
|---|---|---|---|
|
The New Academy |
|||
| NA_2_1 | Act 2 | Beginning the scene with the characters (Camelion and Hannah) onstage | Watch video |
| NA_2_2 | Act 2 | Beginning the scene with the characters (Camelion and Hannah) arriving in mid-argument | Watch video |
| NA_2_3 | Act 2 | Hannah stationary, trapped, while Camelion circles her | Watch video |
| NA_2_4 | Act 2 | Camelion stationary while Hannah circles him | Watch video |
| NA_2_5 | Act 2 | Camelion invades Hannah's personal space | Watch video |
| NA_2_6 | Act 2 | Camelion acknowledging the audience while softening up Hannah | Watch video |
| NA_2_8 | Act 2 | Camelion's use of the nickname 'Cock' as affectionate | Watch video |
| NA_2_9 | Act 2 | Camelion's use of nickname 'Cock' as a challenge | Watch video |
| NA_2_10 | Act 2 | Hannah offended by the nickname 'Cock' | Watch video |
| NA_2_11 | Act 2 | Hannah going along with Camelion at this stage, hoping by doing so to bring him to reason | Watch video |
| NA_2_12 | Act 2 | Camelion's 'Kiss me' as affectionate | Watch video |
| NA_2_13 | Act 2 | Camelion's 'Kiss me' as an attempt at control | Watch video |
| NA_2_14 | Act 2 | Hannah submits to Camelion's kiss | Watch video |
| NA_2_16 | Act 2 | Hannah reacts with frustration and anger | Watch video |
| NA_2_18 | Act 2 | Three different ways of saying 'Pish' | Watch video |
| NA_2_19 | Act 2 | Hannah accuses Camelion of irresponsibility | Watch video |
| NA_2_21 | Act 2 | Camelion commands an end to the discussion and Hannah moves away, leaving stage space for the Footpost to enter | Watch video |
| NA_2_22 | Act 2 | Camelion angry with Hannah, uses 'Cock' without affection, strikes her 'in play' | Watch video |
| NA_2_23 | Act 2 | Hannah reacts with exasperation to Camelion's refusal to take her situation seriously | Watch video |
| NA_2_24 | Act 2 | Camelion as affectionate and innocent | Watch video |
| NA_2_25 | Act 2 | Valentine self-dramatising for Erasmus | Watch video |
| NA_2_26 | Act 2 | Valentine acting out his memory of Hannah's response | Watch video |
| NA_2_27 | Act 2 | Valentine and Erasmus surround Hannah | Watch video |
| NA_2_28 | Act 2 | Valentine moves into Hannah's space insinuatingly | Watch video |
| NA_2_29 | Act 2 | Valentine sends Erasmus away | Watch video |
| NA_2_30 | Act 2 | Hannah reacts with disgust at Valentine's words | Watch video |
| NA_2_31 | Act 2 | Erasmus stands among audience to comment on Valentine's behaviour | Watch video |
| NA_2_32 | Act 2 | Valentine shows he is highly conscious of Erasmus's interpretation of what he sees | Watch video |
| NA_2_33 | Act 2 | Hannah glances over at Erasmus, afraid of how he is interpreting the scene | Watch video |
| NA_2_34 | Act 2 | Erasmus comments to the audience on Valentine's conduct | Watch video |
| NA_2_35 | Act 2 | Valentine's mysogynous view of all women | Watch video |
| NA_2_36 | Act 2 | Valentine insultingly propositions Hannah | Watch video |
| NA_2_37 | Act 2 | Erasmus comments to the audience on Valentine's behaviour, signalling that he will distance himself | Watch video |
| NA_2_39 | Act 2 | Discussion on the effect of having Erasmus onstage during the interaction between Valentine and Hannah | Watch video |
| NA_2_40 | Act 2 | Hannah reacts with hostility; Valentine whispers to her, conscious of Erasmus watching | Watch video |
| NA_2_41 | Act 2 | Valentine showing off to Hannah, but worried when her adverse reaction is being seen by Erasmus | Watch video |
| NA_2_42 | Act 2 | Valentine propositioning Hannah | Watch video |
| NA_2_43 | Act 2 | Valentine propositions Hannah and walks away to edge of playing area; he entices her back to whisper | Watch video |
| NA_2_44 | Act 2 | Hannah giving money and instructing Valentine to treat her reputation carefully | Watch video |
| NA_2_45 | Act 2 | Discussion of whether it's possible to play Hannah as the powerful character in the scene; Valentine's irrepresibility | Watch video |
| NA_2_46 | Act 2 | Discussion of the sexual fantasy in the names of the suburbs and 'outleaps'; Valentine's ineptitude | Watch video |
| NA_2_47 | Act 2 | Valentine's 'strong-docked tit' as deliberately obscene | Watch video |
| NA_2_48 | Act 2 | Discussion of where the audience focus is, directed by Erasmus's comment | Watch video |
| NA_2_49 | Act 2 | Discussion of the variousness of the audience and thus different responses to Valentine's conduct in the theatre | Watch video |
| NA_2_50 | Act 2 | Discussion of Hannah's fear that Erasmus will expose her reputation to adverse comment | Watch video |
| NA_2_51 | Act 2 | Discussion of how trapped Hannah is and how both Hannah and Erasmus are trying to keep Valentine discrete | Watch video |
| NA_3_1 | Act 3 | Complete rendition of Matchil's soliloquy | Watch video |
| NA_3_2 | Act 3 | Part of Robert Lister's performance of Matchil's soliloquy | Watch video |
| NA_3_3 | Act 3 | Matchil's speech: the turning point as performed by Robert Lister | Watch video |
| NA_3_4 | Act 3 | Matchil's speech: Robert Lister's comments on the turning point | Watch video |
| NA_3_5 | Act 3 | Matchil's speech: the use of the chair | Watch video |
| NA_3_6 | Act 3 | Matchil's speech: Matchil's address to the servant | Watch video |
| NA_3_7 | Act 3 | Matchil's speech: emphasis on verbs | Watch video |
| NA_3_8 | Act 3 | Matchil's speech: discussion of the role of the servant | Watch video |
| NA_3_9 | Act 3 | Matchil's speech: Robert Lister talking about when to engage with the audience | Watch video |
| NA_3_10 | Act 3 | Matchil's speech: Phillip Cumbus moving round the stage | Watch video |
| NA_3_11 | Act 3 | Matchil's speech: discussion of Matchil's evasive diction | Watch video |
| NA_3_12 | Act 3 | Matchil's speech: Phillip Cumbus allowing anger to erupt again at the end of the speech | Watch video |
| NA_3_13 | Act 3 | Matchil's speech: Robert Lister making matchil dwindle into acceptance | Watch video |
| NA_3_14 | Act 3 | Matchil's speech: long discussion | Watch video |
| NA_4_1 | Act 4 | Joyce and Gabriella's opening: fearful | Watch video |
| NA_4_2 | Act 4 | Joyce and Gabriella's opening: more coquettish | Watch video |
| NA_4_3 | Act 4 | Joce's line 'But did you note ...' as the scene's turning point | Watch video |
| NA_4_4 | Act 4 | Joyce and Gabriella acknowledge the audience throughout | Watch video |
| NA_4_5 | Act 4 | Gabriella and Joyce admitting they do not differentiate between the two young men | Watch video |
| NA_4_6 | Act 4 | Joyce horrified by Strigood's behaviour | Watch video |
| NA_4_7 | Act 4 | Joyce and Gabriella's interchange: the full scene | Watch video |
| NA_4_8 | Act 4 | Galliard's advertisement for the New Academy's offerings | Watch video |
| NA_4_13 | Act 4 | Discussion of use of masks | Watch video |
| NA_4_14 | Act 4 | Discussion of direct address and exposition | Watch video |
| NA_4_15 | Act 4 | Discussion of turning point in the exchange | Watch video |
| NA_5_1 | Act 5 | Blith making constant eye contact | Watch video |
| NA_5_2 | Act 5 | Erasmus's emphases in his first line | Watch video |
| NA_5_3 | Act 5 | Blith's deliberate response to Erasmus | Watch video |
| NA_5_5 | Act 5 | Blith addresses her remark about being 'fool clogged' to Erasmus | Watch video |
| NA_5_6 | Act 5 | Blith addresses remark about being 'fool clogged' to herself | Watch video |
| NA_5_7 | Act 5 | Erasmus's emphatic use of 'free' and 'yield' | Watch video |
| NA_5_8 | Act 5 | First version of Blith's business with the key | Watch video |
| NA_5_9 | Act 5 | Second version of Blith's business with the key | Watch video |
| NA_5_10 | Act 5 | Camelion as a stage manager of the encounter between Erasmus and Blith | Watch video |
| NA_5_11 | Act 5 | Erasmus emphasising his transparency | Watch video |
| NA_5_12 | Act 5 | Blith turns away when making her decision | Watch video |
| NA_5_13 | Act 5 | The actors having difficulty with the humorous use of the word 'cock' | Watch video |
| NA_5_16 | Act 5 | Rachel kneels | Watch video |
| NA_5_17 | Act 5 | Hardyman comes forward to position of power | Watch video |
| NA_5_19 | Act 5 | Hardyman takes charge at the end of the scene | Watch video |
| NA_5_20 | Act 5 | Whole final sequence | Watch video |