Sunday, August 31, 2008
This 3-day international seminar focuses on intercultural dialogue with project presentations by invited cultural operators from all over Europe, artists’ talks, two round tables and evening performances aiming to create possibilities for developing new projects and co-productions.
The seminar is organised by United Experts and Project DCM Foundation with the financial support of the Swiss Cultural Programme Pro Helvetia/ SDC and the Ministry of Culture and Religious Affairs.
Saturday, August 30, 2008
The director said: "I feel privileged to have worked for the Fringe. It is the greatest arts festival on the planet and plays an important role in developing and showcasing new performing talent on a world stage. However, the role of Fringe director has taken me away from my first love of producing and presenting exciting performances to audiences and my intention is to return to that more direct relationship with artists and audiences."
Friday, August 29, 2008
The conference is open to professional performers, performing arts educators and teachers from all over the world interested in the research of topical questions and processes in contemporary performing arts education and training. At the moment the Conference is accepting presentation proposals.
• workshop/master class
• work in progress
• performance fragment
• any other way of demonstration to the presenter's discretion
Submissions Guidelines and Registration: Click here.
Accommodations and Venue: Click here. (Bovec mountain resort)
Conference Info: Click here.
If you are unable to attend the conference there is opportunity to send your promotional materials: booklets or flyers about your company, announcements of workshops, courses, performances and other events. All materials will be displayed at the main information stand and will be available to the delegates during the entire period of the conference.
Thursday, August 28, 2008
Wednesday, August 27, 2008
Fringe director Jon Morgan said he was delighted with the overall figures in what he had been a "difficult year". He also pointed to the increasing number of free fringe events which are not included in the final tally. Now the Fringe is over, an inquiry will begin into the box office problems which left many shows overbooked or described as sold out when they were not.
Mr Morgan said: "At the start of the festival many were worried about the loss of venues, impact of the Olympics and the economy. In a difficult year, with record rainfall and problems with ticketing, fringe-goers have come out in force and enjoyed the festival." Fringe 2008 featured 31,320 performances of 2,088 shows in 247 venues. An estimated 18,792 performers took to the stage. A total of 350 shows were absolutely free, an increase of 46 on 2007.
Tuesday, August 26, 2008
The maximum contribution of the Fund allocated to each Small Grant project is up to EUR 4,000. The financial contribution of the Fund cannot exceed 50% of the total project costs including the in-kind contribution of the applicant, or in-kind contributions of other co-financing subjects. The maximum time frame of the proposed budget is 6 months, even if the project is envisaged to last longer.
When considering funding, the Fund will prefer those projects that will involve partners (co-organizers) from all V4 countries (with the exception of the Cross-border projects). The Fund will not support projects in which less than three of the V4 countries are involved, except for projects within the cross-border cooperation. (Within the cross-border cooperation, partners from 2 V4 countries are sufficient.) The Fund may also fund projects proposed by (or implemented in cooperation with) an entity outside of V4 countries, provided that such projects are in compliance with the objectives of the Fund. Applicants from non-Visegrad countries can apply for Small Grants under the same conditions, but the project must be thematically related to Visegrad cooperation.
Annual budget: EUR 512,000
Deadlines: 1 March, 1 June, 1 September and 1 December
Applications for the Small Grants must be submitted through the on-line application system here.
Monday, August 25, 2008
As the Olympics come to a close, so do the annual Edinburgh International and Fringe Festivals. Click here to read the NYTimes Charles Isherwood’s round-up of the youthful offerings. Here’s also a link to the ‘Total Fringe Award’ winners.
Sunday, August 24, 2008
Saturday, August 23, 2008
Friday, August 22, 2008
Thursday, August 21, 2008
The most expensive of five new cuts approved in February was the $11.7-million Canadian Memory Fund, which gives federal agencies money to digitize collections and mount them online. Also chopped were the $3.8-million Culture.ca Web portal; the $560,000 Canadian Cultural Observatory; the $5.64-million research and development component of Canadian Culture Online; and the $2.1-million Northern Distribution Program, which distributes the Aboriginal Peoples Television Network signal to 96 Northern communities.
The departments says a rarely advertised $500,000 annual fund - part of the Sustainability program designed to rescue arts organizations on the brink of extinction - has also been axed, after helping rescue four groups on the brink of disaster in the past six years: the Winnipeg Symphony, Calgary Philharmonic and Théâtre du Rideau Vert received $250,000; and the Orchestre Métropolitain du Grand Montréal received $100,000.
Montreal Mayor Gérald Tremblay and Toronto Mayor David Miller's joint letter to Prime Minister Harper, which decried a perceived reversal in a generous Conservative approach to the arts, only added to the exasperation of the Prime Minister's communications director, Kory Teneycke. "To listen to some in the arts community and the opposition, you would think that there's blood in the streets…When we find examples of programs that are clearly not meeting their objectives, without apologies we will cancel them. That is the entire purpose of Strategic Review. We owe that to taxpayers," Mr. Teneycke added, calling PromArt "a boondoggle."
Wednesday, August 20, 2008
“Beckham’s story is a modern-day fairytale of heroes, villains, love, Manchester United and what it means to lead your country,’’ explained Mark Archer. “His rise from obscurity to international stardom, his universally acknowledged gifts as a supreme sportsman, and his Hollywood lifestyle all have the elements of an aspirational fable. With football and celebrity now firmly established as new secular Western religions, The Theatre of Dreams is set within a cheering football stadium – the modern-day church. The music is powerful, gospel-like rock to establish clearly football and Manchester United as a religion.’’
Next Up: The Trainwreak That Is Britney Spears – The Musical
Tuesday, August 19, 2008
"It is not timely. It's not in the good spirit of our National Day. If we go ahead with the concert, it is contrary to what we are preparing for," said Shukran Ibrahim, a senior official from the culture ministry's department that vets all foreign artists.
Monday, August 18, 2008
Wanderlust is the urge to travel and broaden one’s horizons. The German Federal Cultural Foundation is committed to fulfilling this dream for municipal and state theatres in Germany which would like to establish a partnership with a foreign theatre.
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. 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.
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. The first submission deadline is 15 October 2008.
Sunday, August 17, 2008
Pankov, 33, began making his mark as the so-called ‘new drama’ movement got under way at the beginning of the decade…But Pankov has no desire to be pigeon-holed by any label, whether it's ‘new drama’ or not. "People are constantly trying to hang slogans and formats on you," he explains. ‘I don't want to live under any label.”
As paradoxical as it may appear on the surface, the freedom-loving Pankov most often tends to seek inspiration in the riches of age-old traditions. Perhaps this is his way of escaping fads and avoiding conformity. Or perhaps it is simply a way of life he has lived all along.
"At some point, I realized what a great thing theater is," Pankov explains. "Everybody comes into a hall and sits silently, but the actor has the opportunity to speak. Someone from above granted him that right. If you're an actor you can speak out. Only you'd better do it sincerely, because it's instantly obvious when you lie."
Saturday, August 16, 2008
Friday, August 15, 2008
The appointment of British-based Bintley to replace Asami Maki, the current artistic director of dance, is less controversial, considering Maki has already been in the job for nine years. More questionable are the circumstances of the other two artistic directors' appointments.
The Asahi Shimbun reported on July 9 that Tadaaki Otaka, the new artistic director of opera, who is slated to succeed Hiroshi Wakasugi, first learned of his appointment when he read about it in a newspaper. Otaka himself had never officially accepted the job.
More perplexing is the replacement of Hitoshi Uyama, the current artistic director of theater, who was appointed only last autumn. Uyama's productions of "Yakiniku Dragon" and "A Japanese Named Otto" (which he also directed), were both well received by critics and the public.
"According to Ai Nagai, an NNTT director who attended the selection meeting, the meeting was first told by an NNTT official that Uyama didn't want to continue in his post," Yoji Sakate, president of the Japan Playwrights Association (JPA), recently explained to The Japan Times. "However, as some directors were anxious for him to stay, Nagai sought confirmation (that Uyama didn't want to continue) from NNTT officials present at the meeting. She only received an ambiguous answer."
Though some NNTT directors at the selection meeting apparently tried to have it adjourned, it was eventually decided to leave the decision to NNTT President Toyama. According to theater Web sites and blogs, at a news conference on July 28, Uyama insisted he'd never been asked whether or not he wanted to continue as the NNTT's artistic director. He also suggested that a smooth and peaceful exit — with a public statement saying he had wanted to leave after all — would be likely to encourage the NNTT to help him in his work as a director afterward.
Speaking to The Japan Times on the phone, JPA's Sakate protested, saying: "I am not afraid to say quite clearly that this situation is wrong — and I would like to win back our public theater from bureaucrats and hand it back to artists."
Sakate is far from being alone in expressing such views. Three national theatrical associations and 14 leading figures in the Japanese theater world — including Sakate and Nagai, Hisashi Inoue and Yukio Ninagawa — have sent a letter of protest to the NNTT demanding clear reasons for its decisions concerning the selections of artistic directors.
by Nobuko Tanaka of The Japan Times
Thursday, August 14, 2008
Wednesday, August 13, 2008
Tuesday, August 12, 2008
Monday, August 11, 2008
The Lab is open to performers from different creative genres and techniques inspired by Physical Theatre as a bold, vibrant and multidimensional approach to contemporary theater performance. Participants will explore Physicality as the principal creative instrument. Theatre, dance, circus or any other kind of performance, performer’s trained body is inspiring, astonishing and surprising spectator’s feelings.
Sergey Ostrenko is a Russian director and teacher working in professional theatre over twenty-eight years. His creative way has passed through the Cold War of the 1980s, collapse of the USSR in the 1990s, creative ordeals in the period of the interethnic tension in the Baltic and joining the New Europe. His creative work is the synthesis of the Russian Theatre School and the newest experiments in various performing arts.
To apply for participation, candidates should send a CV (resume) and a brief letter of motivation to email@example.com stating the title, dates and place of the event. The Lab will take place in Ystad, a historical Swedish town situated at the southern point of Sweden on the Baltic Sea. During the Lab accommodation and meals are provided for participants. Click here for more info.
Sunday, August 10, 2008
"This partnership is the best of both worlds for me and my management team," Laliberte said in a joint statement with Nakheel and Istithmar. "We can keep control of our creative challenges and operations while accelerating our growth doing projects all over the world."
Nakheel, one of Dubai's biggest developers, and Cirque du Soleil agreed in May to build a theatre on Palm Jumeirah, a massive palm-shaped island housing development Nakheel is building in the Persian Gulf. The 1,800 seat facility is expected to house a permanent Cirque du Soleil show beginning in summer 2011. More than 100,000 visitors attended a monthlong run of a Cirque du Soleil performance in Dubai last year, the companies said.
In June, Cirque du Soleil denied media reports that it was for sale. A spokeswoman at the time said the company is approached regularly about possible deals, but that a report that it had received takeover bids from Dubai worth close to $2 billion was false.
Saturday, August 9, 2008
Almost 80% of 300 foreign artists invited to attend the international youth conference in Bountiful, Utah have been denied travel visas. Officials from the International Organization of Folk Art say despite their repeated tries - including letters from Utah's Republican U.S. Senator Orrin Hatch - just 65 of the 300 invited artists have obtained visas. The first-ever youth conference is being held in conjunction with this week's 20th Annual Bountiful-Davis Summerfest International. The International Organization of Folk Art was created to preserve native cultures and languages, forming ties over time with the United Nations Educational, Scientific and Cultural Organization.
David Donahue, spokesman for the Bureau of Consular Affairs at the State Department, says the department recognizes the importance of cultural exchange. However, Donahue says U.S. law presumes a visa applicant won't return to his or her home country. "We know the benefit to America when they come to share their culture with us, and we issue visas to thousands of folk artists, musicians, people coming here to share little bits of their culture with us every year," Donahue said. "But, in the end, the office is going to have to make the decision, from the information each applicant provides them: 'Will this particular applicant, at the end of the conference or cultural event, return to their home country?' "
Afghanistan: 38.4 percent
Armenia: 61.4 percent
China: 20.7 percent
Cuba: 53.1 percent
Guyana: 62.3 percent
Iraq: 44.9 percent
Iran: 44.6 percent
Laos: 72.9 percent
North Korea: 14.3 percent
Friday, August 8, 2008
Thursday, August 7, 2008
"We were there, scratching our heads, looking into the trenches, thinking, 'this could be it,'" said Jo Lyon, a senior archaeologist at the museum. "So we did some more research, and then we found the angled walls. And we all went, 'Oh my gosh, this should be it.' "
Other theaters of similar vintage also have angled walls, so the discovery was significant. Archaeologists also had known for a long time there was a high probability for The Theatre to be on this particular site. But there are no maps that show its location, no images to show what it might have looked like, and only a vague description of it.
The possible discovery of The Theatre, built in 1576 and where Shakespeare's troupe performed in the 1590s, could complete the set of open-air theaters where the Bard's plays were staged. The Rose theater's location was discovered in 1989 in Bankside, just south of the River Thames in central London, and the Globe theater is nearby. A replica of the Globe was built on a site close to the original and opened in 1997. Shakespeare's company, the Lord Chamberlain's Men, only moved into The Theatre in the 1590s. Until then, they had been performing at the Rose, but a shake up in the London theater scene necessitated the move, said Martin Wiggins, a fellow at the Shakespeare Institute at the University of Birmingham.
And in 1597, a dispute with the landlord forced the company to move again, Wiggins said. They didn't own the ground The Theatre was built on, but the company did own the material it was built with, so they simply dismantled the entire theater and moved it south across the River Thames, where it was rebuilt and renamed the Globe. But The Theatre's foundations remained in east London, and that's what archaeologists believe they have found. Other works that would have been performed during the period Shakespeare's company were at The Theatre would have included Henry IV,Richard II, King John, and The Merry Wives of Windsor," Wiggins said. Lyon said it's unlikely The Theatre's complete foundations will ever be fully excavated, but her team intends to examine them further. Fittingly, a new theater is being built on the site, ensuring the foundations below are protected.
Wednesday, August 6, 2008
Tuesday, August 5, 2008
The whole theatre project is completely financed by Montblanc, as in every year. In addition, Montblanc donates the prize for the best piece of direction. The winner of the Montblanc Young Directors Award 2008 will receive prize money amounting to €10,000 and the Montblanc Max Reinhardt fountain-pen, which was specially designed for this project. All performances are new productions and will be shown in the original language with English or German super-titles.
This summer, the topic of memory, the reconstruction of human experience, characterizes the four productions presented as part of the program: the New York-based company Nature Theater of Oklahoma goes in search of our memories of Shakespeare’s Romeo and Juliet. In his new work, Marius von Mayenburg examines the process by which memories are corrected and deleted within a family, so that people can continue living with a past thus rewritten. From Bergen in Norway, a form of “musicalized theater” has been invited: in Brecht’s Die Maßnahme (The Measures Taken), four people are judged for shooting a comrade; they justify this with the course of events, recreating them. And the Japanese company chelfitsch tells of five history-making days in March of 2003; the perspectives of the figures dreaming of the future and letting the present pass them by is just as fleeting as the memory of those days. More here.
Monday, August 4, 2008
Sunday, August 3, 2008
Saturday, August 2, 2008
Friday, August 1, 2008
Dates: August 20 - 24, 2008
Location: Yeditepe University, Istanbul
The fifth International Conference on Cultural Policy Research (ICCPR 2008) aims to provide an outlet for an interdisciplinary exploration of the meaning, function, and impact of cultural policies. Cultural policy is understood as the promotion or prohibition of cultural practices and values by governments, corporations, other institutions and individuals. While considering a broad view of culture, encompassing a wide range of signifying practices that include the products of the media, the arts and various forms of government or religious display, ICCPR 2008 will attempt to maintain a focus on policies relating to culture as symbolic communication rather than culture in the anthropological sense as 'a whole way of life'. The historical range is not limited to any given period, but the ICCPR is primarily concerned with material that is relevant to the contemporary world.
Registration is open until August 23.
For more information, click here.