Thursday, July 31, 2008
Wednesday, July 30, 2008
And what, if anything, disappoints Mr. Havel about the state of contemporary capitalist culture? “I do not like the ads on the shirts of hockey or football players,” he said. “You’d think Coca-Cola is playing against Pepsi-Cola.”
Tuesday, July 29, 2008
Many of the workshops scheduled for November, will later flow into the 40th International Theatre Festival –which will be held shortly before Carnival, from February 20th to March 8th 2009– this time in the form of performances that will follow the presentation of some of the development phases during the International Theatre Workshop.
The Workshop and the Festival are inspired by the theme of the Mediterranean, seen as “a complex place of encounters and currents, which implies the movement of peoples, histories and cultures, which underlines the continuous sense of historic transformation and cultural tradition that makes it a place of continuous transition” (I. Chambers). The first part of the project takes place along a journey that begins with our literary and cultural roots to end with the burning realities of the history of our times -from Palestine to Lebanon, from Israel to the Balkans.
The International Theatre Workshop will be distributed across the five great themes that express the many facets of the Mediterranean: Shakespeare’s Sea, Myths Rediscovered, Once upon a Time, The Lingua Franca of the Mediterranean Ports, and Sans papiers.
Selection of candidates will take place by considering the curriculums sent; the artistic director and the curator of each specific workshop will be in charge of the selection process.
Enrollment and attendance to the workshops are entirely free of charge. There will be no payment or fee to attend the workshops. There will be no grants, free accommodation or meal tickets for attendees. Selected candidates will have to get to the place where workshops are held with their own means of transport and at one’s own expense. Learn how to participate here.
Thursday, July 24, 2008
Wednesday, July 23, 2008
Trend of the Year: The retreat of the contemporary playwright. What happened? New writing and new writers have been one of the biggest engines of theatrical innovation for most of this decade. This year there was not only a noticeable drop in new plays produced but, gulp, not one of those staged stood out in a positive way. Could this be an aberration? Could younger writers be taking the easy way out and merely imitating the innovators of the last decade? Have all but a handful of theaters lost the spirit for gambling on the unknown? Could "new drama" be old hat? It's something to keep an eye on when the new season fires up in the fall.
Tuesday, July 22, 2008
Physical training is the core of the Lab program. Participants will explore physicality as the key to form, style, atmosphere and emotional palette in contemporary performance. The process includes intensive practical training, lectures and discussion club. The Lab is open to performers from different countries and backgrounds inspired by Physical Theater as a bold, vibrant and multidimensional approach to contemporary theatre performance.
Actors of physical, dramatic, dance and musical theatres, circus performers, dancers, choreographers and directors.
Candidates should send a CV (resume) and a brief letter of motivation to firstname.lastname@example.org stating the title, dates and place of the event.
The Lab will take place in the beautiful Bovec town located in the heart of the Julian Alps. During the Lab, hotel accommodation (eight nights) and meals are provided for participants. For more details, click here.
Monday, July 21, 2008
“Today, to France's worry, Paris is no longer the place to be. To the rest of the world, the city - for all its beauty - has become a backwater in many cultural areas. Its temples to the arts - the Pompidou Centre, the Louvre, the Musee d'Orsay, the Opera, the Comedie Francaise and so on - are indeed filled. But the worshippers these days are consumers, not creators. They are mainly foreign tourists who come to see the eternal Mona Lisa, post-modern American artists, the French Impressionists and Moliere. The city chemistry that produced rawness, dynamism, change and challenge seems absent.”
Sunday, July 20, 2008
Saturday, July 19, 2008
Friday, July 18, 2008
• cross cutting or multidisciplinary activities: this domain involves development of multidisciplinary professional organisations, training on cultural related jobs, the development of multidisciplinary cultural centres, and the promotion of cultural tourism
• applied and visual arts
• music and theatre
• cultural heritage
• films (production/distribution of documentary films related to arts and West African Culture)
The guidelines in French, English and Portuguese are available on the following web site .
Thursday, July 17, 2008
Interviewed was Jonathan Holloway, a director for over 25 years who had experience of the higher education system when he was head of performing arts at Middlesex University. He says "There is now a real tension about the way actors are being trained, because the industry has entered a new era. Actors can't just act any more. If they want to work they have to be entrepreneurial: they have to make work, build companies and find spaces for that work. The graduates from universities are good at this. They are able to make context for the work, not just work itself."
Read the full article here.
Wednesday, July 16, 2008
Other topics of discussion include:
1. Constructions and Imaginative Representation of Asian-ness in World Performance.
2. Religion and Theatre: influences of religions in Asia such as Shamanism, Buddhism, Hinduism, Islam, Christianity, etc. on theatre.
3. New media and Theatre: impact and uses of new technology on Asian traditional theatre and theatre education.
4. Adaptation and Appropriation: local Asian adaptations of international theatre influences including Shakespeare, Brecht, Chekhov, etc.
5. Cultural Translation: ideologies of the West such as modernism, Marxism, feminism, etc. as translated and historically practiced in Asian cultural contexts and their representations in theatre.
6. Asian and Transnational Women’s Issues in Performance.
7. Spatial Issues in Performance.
8. Corporeality and Representation in Performance.
9. Festivals as sites of performance.
10. Concepts of Asian-ness in Cyberspace.
As Brantley says, “Blockbuster musicals and brand-name star power were largely what made last year a record breaker in West End theater attendance. But what this New Yorker abroad has found most revitalizing has been lower-profile productions that insist that the theater still has an active role in the national conversation here.”
Tuesday, July 15, 2008
"Late nights and boozing are a key part of the Edinburgh experience for many performers and audiences. It always makes me chuckle when you hear American tourists alight at Waverley station and ask, 'Say, where can I get a drink?' The question is, where can you not get a drink? Possibly the only venue in Edinburgh that doesn't serve alcohol is the Temperance society, but even they are probably running some kind of hooch racket on the quiet. I've now lived in Edinburgh for 17 months in total. I've decided that, technically, this makes me about one-thirtieth Scottish - I just hope that thirtieth isn't the part that includes my liver. As a proud Scot, I would urge anyone to head to Edinburgh this August - just don't forget to pack an umbrella and a bikini."
Monday, July 14, 2008
Sunday, July 13, 2008
Wanderlust is an application-based fund that finances theatre partnership and exchange for two to three seasons. In the first year, the theatres could exchange artistic personnel. In the second, they might choose to host a guest production from their partner theatre. And in the third year, the theatres could organize a co-production to be performed at both locations. The partner theatres are free to organize the details of their working arrangement themselves according to their interests and capacities. The goal is to involve as many members of each theatre in the cooperative venture as possible. The fund also provides the option of continuing an existing partnership in the case that both partner theatres begin a new project.
Project applications are selected by the Executive Board of the Federal Cultural Foundation based on the recommendations of an independent jury.The Federal Cultural Foundation can award a maximum of 150 000 EUR per partnership. The applying theatre or third-party sponsors must finance at least 25 % of the entire cost of the project. The fund runs for five years, within which time theatres have two opportunities to apply for funding. Application forms are available here and can be submitted online.
15 October 2008 1st submission deadline
January 2009 1st jury session for partnerships starting in the 2009/2010 season
15 October 2009 2nd submission deadline
January 2010 2nd jury session for partnerships starting in the 2010/2011 season
Contact: Anita Kerzmann,
German Federal Cultural Foundation
Franckeplatz 106110 Halle/ Saale
Tel. +49 345/ 2997 161 / Fax. +49 345/ 2997 333
Saturday, July 12, 2008
"The art I love most dearly emerges from an acknowledgement that we’re none of us pure of either mind or heart. It’s the art of mixed tones—buffoonery mixed with regret, as in Mozart’s Figaro; comic absurdity mixed with heartache, as in Chekhov’s stories; salvation that appears improbably out of despair, as in Shakespeare’s King Lear, or when all hope is lost, as in The Winter’s Tale.
Yeats said that art is forgiveness for sin. I think what he meant was that art has to be generous. It’s always easy for us to look down from a great height on the characters in a work of fiction or a movie or a play and pass judgment on them—especially since most of the fiction we read and the plays we attend and, God knows, the movies we see give us points for doing just that. But just as “the rarer action is / In virtue than in vengeance,” to quote Prospero in The Tempest, so it’s more difficult, more challenging and far more rewarding to see the humanity in a character who commits the kind of offenses that we may hope we wouldn’t commit but in truth know ourselves to be fully capable of. If we embrace these characters—Mary Tyrone in Eugene O’Neill’s Long Day’s Journey into Night, whose addiction to morphine puts her out of the emotional reach of her husband and her sons, or Blanche DuBois in Tennessee Williams’s A Streetcar Named Desire, whose terror of death drives her into the arms of teenage boys (“The opposite is desire. So how could you wonder? How could you possibly wonder?”)—we embrace them wholeheartedly, with a kind of moral depth that allows us to transcend the conventional and the small-minded."
Friday, July 11, 2008
General: This funding line supports outstanding artistic projects which show vision in illuminating the issues of diversity in Europe. Projects will be assessed specifically on their artistic quality. Artistic uniqueness and European relevance are the main selection criteria.
Who can apply? Cultural organizations AND individual artists
Deadline for applications: 1 September 2008
Average grant: €30 000 - €60 000
I. The Application Process
-For your first application, you do not have to fill in an application form. We simply ask you to present us your project in a written format (English, max. of 2 pages, around 1000 words), no attachments needed at this stage; of course, it helps when you say something about who might be involved, where and when it might be taking place, why this project is relevant. But as you only have limited space, stick to what is most important, and focus on what you are actually going to do.
-After the deadline, we will start reading all the project descriptions
-Within a few weeks, we will invite those applicants whose projects we found most interesting to write a more extensive project application. This will include all necessary technical details about dates, budget, exact activities, context, etc. These applicants will have 4 weeks to submit the complete applications
-The full project application will then be finally assessed by the Grants team and its advisers
For full guidelines, click here.
Thursday, July 10, 2008
“The performances that followed — a hip-hop-flavored song-and-dance sequence, a visiting Polish group’s a cappella rendering of a Georgian funeral song, a Balinese dance solo, and a love-song duet in Chinese and Portuguese between a Nanguan opera singer and a Brazilian percussionist — were the kinds of intercultural exchange that Mr. Barba and his group have been practicing for almost half a century.”
Read the full article here.
Wednesday, July 9, 2008
"I've decided to keep the meetings simple. Each playwright - the majority of them are under 30 - has already had a play produced in their own country. For our sessions, these have been translated into English, which we use as a lingua franca. We discuss not only the plays, but also the wider issues of playwriting, politics and art in each dramatist's country. Although we're all talking in a careful, hesitant manner that we quickly dub "conference English", our 10 days of discussions prove incredibly exciting. It's striking how different the cultural traditions and expectations of each country are."
Tuesday, July 8, 2008
Apparently, the clowns were imposters who stole the real Russians’ names, clothes and hairstyles. Now the Kuklachevs are pissed and have filed a suit in NY against the imposters, their US promoter (Mark Gelfman) and every theater where the imposters performed. The clowns are suing for “federal and common-law trademark infringement, false endorsement, unfair competition, false designation of origin, dilution of a famous trademark, and violations of anti-cybersquatting law, rights of publicity and privacy, fraud, conversion, prima facie tort and unjust enrichment.” The Russian clowns are currently seeking $10 million in damages. Read more here.
Monday, July 7, 2008
Sunday, July 6, 2008
Saturday, July 5, 2008
Those whose parents had advanced education, such as a university degree, were much more likely than those whose parents with lower education to attend most cultural activities. Mom's education had more of an impact than did dad's schooling, according to the report.
For those in a romantic relationship, their partner's education had an even greater effect than their mother's schooling on their likelihood of participating in cultural activities. But factor in a kid or two and the time they spent going out declined, the study found.
Statistics Canada researchers based their report on data from the 2005 General Social Survey which contains details on how nearly 10,000 Canadians aged 15 and over spend their time.
Friday, July 4, 2008
Thursday, July 3, 2008
Wednesday, July 2, 2008
Many have attacked the decision because of the Perth-born actor’s personal life and lack of theatre work as reasons why the center should get a different name.
West Australian Academy of Performing Arts program director Andrew Lewis criticized the move, saying the WA government had engaged in a cynical marketing exercise. "People in the industry don't feel that they were consulted," he said. But he stressed that this did not detract from the fact that Ledger was a great actor.
"I certainly would love to honour Heath because I think he was an extraordinary man and a great talent, one of the best exports that we have ever had," Mr Lewis said. "And he is well known, which will hopefully bring people to the theatre."