Antony sher arturo ui shqip
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The F?hrer was more formidable than a cauliflower king; vegetable battles aren’t sufficient to evoke 1930s Germany; the persecution of the Jews is only glancingly evoked. In 1968, at the age of 19, he travelled to London to audition at the Royal Academy of Dramatic Art and the Central School of Speech and Drama, but studied instead at the Webber Douglas Academy of Dramatic Art from 1969–71, followed by a postgraduate course at Manchester University.
After graduation, he launched his career at the Liverpool Everyman Theatre and joined the Royal Shakespeare Company (RSC) in 1982. Sher prepared a rough cartoon of the painting, which was also exhibited, sticking figures on with Blu-Tack so he could move them around and change their positions, in the artist’s own words, it was ‘like the dinner party from hell, seating 145 people, some whom nobody would want to sit next to’ (Jones 2010, p.
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Public collections
Related organisations
- University of Manchester (student)
- Webber Douglas Academy of Dramatic Art (student)
Related web links
- Antony Sher interview by Stuart Husband, The Guardian, 30 May 2009
- ‘Antony Sher: Painting and Writing Stop me Going Crazy', 14 January 2012
- Antony Sher’s painting ‘Audience’, Business Live
- BBC Obituary
- List of exhibits of Mad King/Fat Knight exhibition
- New York Times obituary
- Official London Theatre, Antony Sher
- ‘Shakespeare's Macbeth: Antony Sher on Art Historical Depictions’, Art UK, 19 April 2021
- ‘Sir Antony Sher on Acting, Writing and Art’, Stratford-Upon-Avon Herald, 14 June 2018
- The Scotsman obituary
Selected exhibitions
- Mad King/Fat Knight, Royal Shakespeare Company (2018)
- Shakespeare in Art: Tempests, Tyrants and Tragedy, Compton Verney, Stratford-upon-Avon (2016)
- The Audience, Herbert Art Gallery & Museum, Coventry (2010)
- Characters, National Theatre, London (1989)
Pamje nga Filmi
Vlerësimi IMDB:
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Burime, referenca dhe shënime:
✤ Filmat shqiptarë
Back in 1991 Antony Sher was unforgettable as Arturo Ui, the Chicago gangster Bertolt Brecht wanted us to identify with Hitler.
Sher later admitted that he had enjoyed the benefits of apartheid without really thinking about the morality of it, until he came to London in 1968, where he initially hid the fact he was South African, employing his acting abilities to pretend he came from Hampstead. directors: Qenan Toro & Avni Resuli / Scenography and costumes: Agim Zajmi (AM) / Recording manager: Eduard Shiroka Sound: Hasan Basha & Klaud Sheldia / Lights: Skender Cashku & Sander Panajoti & Fuat Cutra / Hairdresser: Ermioni Kotini
Makeup: Zhaneta Petushi / Editing: Mimoza Dibra
Cameramen: Valter Qarri & Fatmir Mullai & Gezim Ibrahimi
THE CAST:
Pjeter Gjoka (AP) ……Dogsboru, liquor seller and politician
Shkelqim Basha….Arturo Ui, boss of gangsters
Ndreke Luca (AM)….Emanuele Giri, gangster
Luan Qerimi……Ernesto Roma, Ui’s right-hand man
Prokop Mima (AM)…..Giusepe Givola, gangster and florist
Lazer Filipi (AM)……Clark, cabbage flower merchant
Qenan Toro…..Mallbery , merchant of the cabbage flower trust
Ahmet Pasha….Flak, merchant of cabbage flowers
Ndreke Shkjezi………Butcher, merchant of the cabbage flower trust Tomorr Guce…..Carruther, merchant
Sander Prosi (AP)…defense attorney
Violeta Manushi (AP) )……the wife of Ignac Dolphy
Robert Ndrenika……artist
Anastas Kristofori….Ignac Dolphy, editor of a newspaper
Reshat Arbana…..prosecutor
Margarita Xhepa…..
But the same accusation has often been levelled against the play’s Hitler references. The work was the centrepiece and also the name of an exhibition of his paintings, drawings and sculpture held at the Herbert Art Gallery in Coventry in 2009. Despite his lack of formal training, Sher’s work was ambitious in scope and challenging in subject matter, as demonstrated by his enormous painting The Audience, depicting an eclectic collection of 142 people in the stalls – members of his family along with depictions of Nelson Mandela, Robert Mugabe, Adolf Hitler, Judi Dench, Simon Callow and Shakespeare.
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He doesn’t kill hundreds of thousands, like Mengistu and Amin, or ruin a nation, like Mugabe. He begins as a tough, surly troublemaker in a red string vest and ends in a neat blue suit, flanked by medal-encrusted generals, bluntly but coolly announcing that, having risen to power in the Chicago area, he plans to extend his rule to Harare, Kampala, Nairobi and Khartoum.
Antony Sher died in died at his home in Stratford-upon-Avon, England in 2021 after being cared for, during his last months of terminal illness, by his husband Greg Doran, former artistic director of the RSC. In the UK public domain Sher's work is represented in the Ben Uri Collection and Royal Shakespeare Theatre, Stratford-upon-Avon, while the collection of the V&A in London holds his sketched portrait of playwright, Edward Bond.
Related books
- Michael Coveney, ‘Sir Antony Sher Obituary’, The Guardian, 3 December 2021, p.
He is, you see, that sadly familiar figure, the corrupt and murderous African dictator. Until those last words, Ralph Manheim’s translation and David Farr’s production stay true to Brecht’s original, so that Ui is still a protection racketeer in the Illinois green-vegetable trade whose rise has parallels to Hitler’s own. 8). But how African is the killing of his chum Roma, meaning Roehm, or the show trial that follows the burning of a vegetable warehouse, meaning the Reichstag, or the death of Dullfeet, meaning Dollfuss, or the annexation of Cicero, meaning Austria?
Moreover, the implied comparison of Ui with certain African dictators seems reductive.
This fits and doesn’t fit. As a white South African, he had lived, ‘morally speaking, on the wrong side of apartheid’ (Leith 2009, p.