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  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 (Ceci est mon corps) is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 (Ceci est mon corps) is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Angelin Preljocaj’s MC 14/22 is a hymn to the male body, a meeting of the spiritual and the carnal, a glorification of masculinity and a condemnation of force. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • Deeply influential theatre maker Thomas Ostermeier returns to the Edinburgh International Festival with a raw, gritty reimagining of Shakespeare’s unflinching study of evil, in a compelling and critically acclaimed production from Berlin’s Schaubühne Theatre. 24th August 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Richard_III_Edinburgh_BA2408...jpg
  • A 38-strong corps de ballet is transformed into a swarming, scurrying mass of insect-like creatures in the multi-award winning Emergence by Crystal Pite, which draws parallels between classical ballet’s traditional hierarchies and the swarm intelligence of bees. Festival Theatre 18th August, 2016, (c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Scottish_Ballet_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
  • Australia’s greatest cultural export Barry Humphries curates, presents and performs an evening of so-called ‘degenerate’ music from Germany’s Weimar Republic, joined by transgressive cabaret sensation Meow Meow and the gutsy players of the Australian Chamber Orchestra, under charismatic Director Richard Tognetti. The Usher Hall, Edinburgh, 8th August 2016(c) Brian Anderson | Edinburgh Elite media
    SCT_EEm_Barry_Humphries_Edinburgh_BA...jpg
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