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World War Two set British filmmakers a challenge: to be relevant and entertaining and to inspire without patronising. Powell and Pressburger brought wit and imagination to their task, questioning what Britain stood for, warts and all.
Narrative, the way a tale is told, is less straightforward than we might suppose. Austen handled irony brilliantly and systematically exploited new ways of narrating, including free indirect discourse. This lecture explores why Austen's way of narrating are so compelling.
In this final lecture, we will focus on one of the best-preserved Diaghilev productions, The Prodigal Son, a strikingly beautiful ballet by Prokofiev/Balanchine/Rouault.
Diaghilev seemed to be the nemesis of traditional ballet, but he was ready to draw on the rigorous classical schooling of his dancers whenever it suited him.
This lecture examines the fascination surrounding works that are left unfinished at their composers’ deaths. It also looks at the urge that certain of us have to complete these uncompleted works, however unwisely and however unbidden.