Excerpts available at Google Books.Louise Ladouceur, Dramatic Licence: Translating Theatre from One Official Language to the Other in Canada (University of Alberta, 2012), . Excerpts available at Google Books.
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187; Fido, pp. 78–79 Smith's account is thought by historians to be dramatic licence on his part, and the kidney could have been a medical student's prank.Evans and Rumbelow, p. 168; Fido, pp.
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References are made to incidents during the Peninsular War and the 1812 Battle of Salamanca. Lieutenant General Wellington, Marshal of France Auguste Marmont, Patrick Curtis and Sergeant Connelley (Sergeant in charge of the death ward in the novel) and Colquhoun Grant (exploring officer captured by Colonel Leroux) were all based on real historical figures of the same names with limited dramatic licence taken.
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There were two key goals in mind, to create a national theatre and to improve the conditions of playwrights. In the years that followed this manifesto more Canadian content was performed in Canadian theatres, although the 50% goal was not attained.Louise Ladouceur, Dramatic Licence: Translating Theatre from One Official Language to the Other in Canada (University of Alberta, 2012), . Excerpts available at Google Books.
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9-12 In addition, during that season, Trial by Jury was preceded by an original short play, Dramatic Licence by William Douglas-Home, in which Gilbert, Sullivan and Richard D'Oyly Carte plan the birth of Trial in 1875. Sandford played W. S. Gilbert in the playlet. He remained with the company for twenty-five years, ending on the company's last night, 27 February 1982.
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Lord's third novel was Fortress, a thriller about the kidnapping of a country school teacher and her students. It was inspired by the Faraday School kidnapping, but takes dramatic licence with the actual events. It was an instant success, was translated into six languages, and was made into a film. Since then she has written many thrillers, including two series: the Gemma Lincoln series about an ex-cop PI, and the Jack McCain series about a forensic scientist.
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Price also travelled to San Diego to shoot 75,000 feet of footage involving ships that remained from World War II. Former naval officer John Gavin admitted sometimes he had trouble with dramatic licence taken by the writers. The program rated poorly from the beginning, struggling against Gomer Pyle and The Addams Family and notice of its axing came after a few weeks. The program premiered on September 17, 1965, and the last episode aired on December 10.
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She told a TV Week writer that profiling is not a big department within the Australian police force and explained "Usually what happens is you have detectives who do that sort of psychology work, but who also do something else, such as ballistics or forensics. We've taken a little bit of dramatic licence with Claudia. She's come up through the detective ranks but she's now a highly specialised criminal psychologist." Walton stated that the role appealed to her because Claudia comes and goes.
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According to one source Robson's first professional engagement was late in 1842 at Whitstable: another suggests he may have begun at a London tavern-cum- concert hall, the Bower Saloon,Known informally as 'the Sour Balloon' and previously as the Duke's Arms, it had a small stage but no dramatic licence, served drink and food to audiences, permitted smoking and was closer to a music hall than a legitimate theatre. Sands, p. 19. where he began developing his repertoire as a comic singer.Sands, p.
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Eventually Sean traced her to Orkney, they were reconciled and returned to Fethard where their daughters were taught at home. Éamon de Valera condemned the boycott on 4 July 1957 and called for Mrs Cloney to respect her promise and return with her children to her husband.Fethard-on-Sea boycott , Remarks by Professor Brian Farrell Time magazine coined the term "fethardism" to mean a boycott along religious lines in an article on the events. A film, A Love Divided, was based on the boycott, though some dramatic licence was taken with some events.
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As an advocate of animal rights, he purchased land to create a bird sanctuary near his home in Italy, argued for bans on painful traps, and himself kept pets as diverse as an owl and a baboon, as well as many types of dog. His writing is light-hearted, being primarily memoirs drawn from his real-life experiences, but it is often tinged with sadness or tragedy, and often uses dramatic licence. He primarily wrote about people and their idiosyncrasies, portraying the foibles of both the rich and the poor, but also about animals.
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409–10 Lawrence's biographers have a mixed reaction towards the film. The authorised biographer Jeremy Wilson noted that the film has "undoubtedly influenced the perceptions of some subsequent biographers", such as the depiction of the film's Ali being real, rather than a composite character, and also the highlighting the Deraa incident. The film's historical inaccuracies, in Wilson's view, are more troublesome than should be allowed under normal dramatic licence. At the time, Liddell Hart publicly criticised the film and engaged Bolt in a lengthy correspondence over its portrayal of Lawrence.
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Dominic Leppla, The Romance of Steam, BFI Screenonline, URL accessed 23 June 2010 The notice stated "For the purposes of the film, dramatic licence has been taken in regard to the safety equipment used on The Flying Scotsman"., accessed 23 June 2010 Film historian John Huntley claimed that Gresley subsequently forbade any further filming on the LNER. Along with Alfred Hitchcock's Blackmail, this was one of the first British sound films. Like that film, it was initially intended to be a silent film, with the decision to switch to speech made during production.
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She depicts Anne and Will as maintaining a friendship despite the challenges inherent to their long separations and tragedies. Mining early and recent scholarship and the complete works, Hudson concurs that evidence of the couple's mutual respect is indeed evident in the plays and sonnets, along with support for the writer's infatuations and possibly adulterous relationships. Hudson also chooses the positive view of the bed bequest, sharing that "it may have been only here that I possessed William." Mrs Shakespeare explores the realities of keeping house without a husband while applying some dramatic licence.
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As profiling is not a big department within the Australian police force, dramatic licence was taken with Claudia and it was stated that she came up through the detective ranks, before becoming a specialised criminal psychologist. Walton explained that Claudia is fascinated with the workings of the criminal mind and comes from an intellectual approach. Walton described her as a pretty straightforward and assertive character. A major storyline for Claudia saw her tasked with putting together a profile for a case featuring a serial rapist, who has murdered one of his victims.
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Trial by Jury was given four times, as a curtain raiser to The Sorcerer, Pinafore and Pirates and as an afterpiece following The Grand Duke. Before the first of the four performances of Trial, a specially written curtain raiser by William Douglas-Home, called Dramatic Licence, was played by Peter Pratt as Richard D'Oyly Carte, Sandford as Gilbert and John Ayldon as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of Trial by Jury in 1875; afterwards, the prime minister, Harold Wilson, and Bridget D'Oyly Carte each gave a short speech.Forbes, Elizabeth. Kenneth Sandford obituary.
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Rollins and Witts, Appendix, p. VII During the company's 1975 centennial performances of all thirteen Gilbert and Sullivan Operas at the Savoy Theatre, Trial was given four times, as a curtain raiser to The Sorcerer, Pinafore and Pirates and as an afterpiece following The Grand Duke. Before the first of the four performances of Trial, a specially written curtain raiser by William Douglas-Home, called Dramatic Licence, was played by Peter Pratt as Carte, Kenneth Sandford as Gilbert and John Ayldon as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of Trial in 1875.
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The Trust also thought the on-screen caption could have been clearer, and warned that "the use of captions such as this should not be regarded as a 'blank cheque' for the indiscriminate and excessive use of dramatic licence".BBC Trust "Editorial Standards Findings: Appeals and Other Editorial Issues to the Trust Considered by the Editorial Standards Committee", May 2009, Published 30 June 2009. Retrieved on 2010-12-22. Once again, the drama would not be shown again until further editing had taken place. A third, re-revised version of the drama was broadcast on 2 December 2009 on BBC HD, now running 69 seconds shorter than the original.
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A film portraying Hess's adoption and his mother's later search for him was released in 2013. Philomena, directed by Stephen Frears and based on the book The Lost Child of Philomena Lee, starred Judi Dench as his mother; Sean Mahon as Hess, and Steve Coogan as Martin Sixsmith, the journalist who helped Philomena Lee identify her son. Although Philomena never actually went to the USA (as she is shown to do in the film), the 'disclaimer' at the end of the movie ("no similarity is to be inferred between characters depicted and real persons") makes clear that 'dramatic licence' was employed to give the (true) story more impact for audiences.
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18 He appeared in a full costume production of The Mikado at Royal Albert Hall. As part of the 1975 centennial season, before the first of the four performances of Trial by Jury, a specially-written curtain raiser by William Douglas-Home, called Dramatic Licence, was played by Pratt as Richard D'Oyly Carte, Kenneth Sandford as Gilbert and John Ayldon as Sullivan, in which Gilbert, Sullivan and Carte plan the birth of Trial in 1875.Forbes, Elizabeth. Kenneth Sandford obituary, The Independent, 23 September 2004 In 1976, Pratt appeared in the serial The Deadly Assassin from the BBC's long-running science fiction television series Doctor Who, replacing the late Roger Delgado to become the second actor to play the Master.
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Conceived while Atkinson and Curtis were working on Not the Nine O'Clock News, the series dealt comically with a number of aspects of medieval life in Britain: witchcraft, royal succession, European relations, the Crusades, and the conflict between the Church and the Crown. Along with the secret history, many historical events portrayed in the series were anachronistic (for example, Constantinople had already fallen to the Ottoman Empire in 1453, predating the events in the episode by 33 years); this dramatic licence would continue in the subsequent Blackadders. The filming of the series was highly ambitious, with a large cast and much location shooting. The series also featured Shakespearean dialogue, often adapted for comic effect; the end credits featured the words "Additional Dialogue by William Shakespeare".
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Jack the Ripper presents a fictionalised portrayal of Frederick Abberline, with details of his personal life (including alcoholism and his relationship with artist "Emma Prentiss") invented via dramatic licence. (In real-life, at the time of the Ripper murders, Abberline was married to Emma Beament, the daughter of a merchant. In Jack the Ripper, Emma Prentiss is not married to Abberline.) Furthermore, the series' portrayal of Abberline unmasking the Ripper as William Gull contradicts the fact that the real-life Abberline believed that the Ripper was actually George Chapman. George Lusk of the Whitechapel Vigilance Committee was depicted in the film as a violent, argumentative troublemaker when in fact he was very quiet, a good local business man who was known for his peaceful nature, a churchwarden and a Freemason.
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With D'Oyly Carte, Ayldon gave up to 350 performances a year. His obituary in The Telegraph commented, "Blessed with a wide schoolboy grin and a spark of mischief, Ayldon tended towards roles which demonstrated a degree of villainy." For the 1975 D'Oyly Carte Centenary Celebration, Ayldon played all his principal bass-baritone roles as well as Phantis in Utopia Limited and the Prince of Monte Carlo in The Grand Duke (in concert). As part of the 1975 centennial season, before the first of the four performances of Trial by Jury, a specially-written curtain raiser by William Douglas-Home, called Dramatic Licence, was played by Peter Pratt as Richard D'Oyly Carte, Kenneth Sandford as Gilbert and Ayldon as Sullivan, in which Gilbert, Sullivan and Carte plan the premiere of Trial in 1875.
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In addition to describing the ups and downs of the partnership between Gilbert and Sullivan, and their relationships with their producer, Richard D'Oyly Carte, the movie depicts many of the people who performed in the original runs of the operas and includes extensive musical excerpts from the works, staged with the assistance of Martyn Green, who advised on the performance practices of the D'Oyly Carte Opera Company."Martyn Green's Recollections of making The Story of Gilbert and Sullivan", Gilbert and Sullivan Archive, 17 April 2009, accessed 8 May 2019 The film is similar in style to other popular biopics of the era, such as The Great Caruso, and takes considerable dramatic licence with factual details and moves events in time. For example, the opening night of Iolanthe is depicted as being the opening of the Savoy Theatre, whereas the Savoy Theatre actually opened earlier, during the run of Patience."100 Electrifying Years", The Savoyard, Volume XX no.
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