Immigrants’ Theatre Project will present Staged Readings in English of 6 new plays written by women playwrights who are the leading voices writing for the stage today in Central and Eastern Europe. ITP’s artistic director Marcy Arlin and director Gwynn MacDonald will curate these plays from Bulgaria, Czech Republic, Hungary, Romania, Serbia and Slovak Republic.
This document provides background information on the musical theater piece "Civilization and Its Discontents" by Michael Sahl and Eric Salzman. It summarizes that the piece is a musical satire written in 1977 that uses the form of a radio drama to critique the "me generation" through dance music, confrontations, and hijinks. It explores themes of emptiness and how people attempt to fill it. The document also provides biographies of the creators and original cast members.
Theater and drama have evolved over thousands of years, from ancient Greek and Roman traditions to modern times. Key developments include the rise of theater in ancient Greece between 800-200 BCE, with genres like tragedy, comedy, and satyr plays performed as part of religious festivals. Theater flourished further under the Romans before declining, while forms like mime rose in popularity. Theatrical traditions continued to spread and evolve worldwide.
Theatre originated from the Greek word "theatron" meaning a place to behold. Theatre involves actors presenting a story to elicit emotions from an audience. There are many theatre genres including comedy, drama, opera, and tragedy. Theatre began in ancient cultures like Egypt, India, and Greece, emerging from religious rituals honoring gods like Dionysus. In ancient Greece during the 6th-5th centuries BC, theatre reached its peak in Athens where playwrights would present texts at festivals for Dionysus. Over time, Greek theatre evolved with innovations like a raised stage and professional actors. While cinema was predicted to replace theatre, theatre remains a living art that relies on the interaction between actors and audience through their shared imagination
The document discusses the concept of the "null part kingdom", a place without space or time coordinates where theatre can inspire acceptance and exhale dreams. It proposes that in this kingdom, paths from distant places can meet and theories can be explored vertically. The author searches for this null part kingdom to build parallel histories to the one that engulfs us. Theatre is proposed as a science where interdisciplinarity of languages on stage can create a true theatrical work without any language overriding the others.
Dana Nehdaran_Esther's Children Catalogue, Dubai 2013Dana Nehdaran
Dana Nehdaran's painting series "Esther's Children" draws on old family photographs to explore his ancestral heritage. By altering faces in the paintings, Nehdaran inserts himself into the images, seeking a connection to his ancestors. The meticulous recreations of the photographs allow Nehdaran to examine the lives of ordinary Iranian families in the past. Through manipulating aspects of the original photos, Nehdaran bridges past and present, engaging his own perception and understanding of history.
Simon McBurney discusses his approach to directing, stating that he sees no clear starting point or origin for a theatrical piece. He views the words on the page as not yet being theatre, and finds that ideas he had originally disappear once work begins. McBurney believes the work itself is the beginning, and that a piece grows naturally through collaboration and preparation rather than being strictly planned or imposed from the outside. This natural growth allows for uncertainty and development over time.
Immigrants’ Theatre Project will present Staged Readings in English of 6 new plays written by women playwrights who are the leading voices writing for the stage today in Central and Eastern Europe. ITP’s artistic director Marcy Arlin and director Gwynn MacDonald will curate these plays from Bulgaria, Czech Republic, Hungary, Romania, Serbia and Slovak Republic.
This document provides background information on the musical theater piece "Civilization and Its Discontents" by Michael Sahl and Eric Salzman. It summarizes that the piece is a musical satire written in 1977 that uses the form of a radio drama to critique the "me generation" through dance music, confrontations, and hijinks. It explores themes of emptiness and how people attempt to fill it. The document also provides biographies of the creators and original cast members.
Theater and drama have evolved over thousands of years, from ancient Greek and Roman traditions to modern times. Key developments include the rise of theater in ancient Greece between 800-200 BCE, with genres like tragedy, comedy, and satyr plays performed as part of religious festivals. Theater flourished further under the Romans before declining, while forms like mime rose in popularity. Theatrical traditions continued to spread and evolve worldwide.
Theatre originated from the Greek word "theatron" meaning a place to behold. Theatre involves actors presenting a story to elicit emotions from an audience. There are many theatre genres including comedy, drama, opera, and tragedy. Theatre began in ancient cultures like Egypt, India, and Greece, emerging from religious rituals honoring gods like Dionysus. In ancient Greece during the 6th-5th centuries BC, theatre reached its peak in Athens where playwrights would present texts at festivals for Dionysus. Over time, Greek theatre evolved with innovations like a raised stage and professional actors. While cinema was predicted to replace theatre, theatre remains a living art that relies on the interaction between actors and audience through their shared imagination
The document discusses the concept of the "null part kingdom", a place without space or time coordinates where theatre can inspire acceptance and exhale dreams. It proposes that in this kingdom, paths from distant places can meet and theories can be explored vertically. The author searches for this null part kingdom to build parallel histories to the one that engulfs us. Theatre is proposed as a science where interdisciplinarity of languages on stage can create a true theatrical work without any language overriding the others.
Dana Nehdaran_Esther's Children Catalogue, Dubai 2013Dana Nehdaran
Dana Nehdaran's painting series "Esther's Children" draws on old family photographs to explore his ancestral heritage. By altering faces in the paintings, Nehdaran inserts himself into the images, seeking a connection to his ancestors. The meticulous recreations of the photographs allow Nehdaran to examine the lives of ordinary Iranian families in the past. Through manipulating aspects of the original photos, Nehdaran bridges past and present, engaging his own perception and understanding of history.
Simon McBurney discusses his approach to directing, stating that he sees no clear starting point or origin for a theatrical piece. He views the words on the page as not yet being theatre, and finds that ideas he had originally disappear once work begins. McBurney believes the work itself is the beginning, and that a piece grows naturally through collaboration and preparation rather than being strictly planned or imposed from the outside. This natural growth allows for uncertainty and development over time.
Entertainment can take many forms and is an activity that holds audience attention through activities like performances, games, reading, and more. It generally involves an audience, who can play passive or active roles, watching or participating. Common types of entertainment include performances like theater, music, dance, magic, circus, and street performances; games; reading; comedy; banquets; and sports or fair events. Animals have also been used for entertainment by being displayed, competing, or performing routines.
This summary provides the key details from the document in 3 sentences:
Michelangelo's works exhibited both great strength and a subtle sweetness, with his sculptures imbuing inanimate objects like stone with a sense of life. His genius was focused on depicting the creation of man and the moment life emerges from lifeless material. Though his life was discordant and bitter at times, his poetry revealed his struggle to harmonize his passionate nature and find moments of respite from sadness.
This document introduces 9 artists who have been selected as ambassadors for the 2015 MAV MTC CONNECT program. It provides a short biography for each ambassador, describing their artistic backgrounds, experiences, and goals. The ambassadors represent countries including Iraq, South Africa, Ethiopia, Zimbabwe, Indonesia, and Serbia. They work in various art forms including acting, circus, dance, poetry, and interdisciplinary projects. The ambassadors express their passion for bringing more cultural diversity and diverse stories to Melbourne's theater scene.
This document discusses several performance artists and companies that have influenced the author's work. It provides biographical information on Anne Bogart and her company SITI, focusing on her development of the Nine Viewpoints technique and emphasis on interdisciplinary collaboration. It also summarizes key aspects of the work of Theatre Ad Infinitum, Earthfall, Joseph Mercier, and Jasmin Vardimon Company, highlighting their use of physical theater, storytelling, and exploration of themes like gender and identity.
The clothes were chosen for an artist because they show both her fun and colorful side as well as portraying her as down to earth by being from the high street.
blackBOX: Painting a digital picture of documented memory: PAPERTatiana Pentes
Pentes, T. 2005, 'blackBOX: Painting a digital picture of documented memory', Journal of Australian Studies, 84, pp. 141-141.
INTRO
"This article is an examination and critical positioning of my current digital media project blackBOX — Painting a Digital Picture of Documented Memory. blackBOX is an interactive CD-ROM ‘game’ and also an internet work. blackBOX seeks to exploit and enhance the creative potentials of digitally produced music, sound, image and text relationships in an interactive and online environment. This work seeks to reverse, obscure and distort the dominating/colonialist gaze in a playful manner. blackBOX is produced through the hybrid meeting of visual arts practice, digital film production and documentary dance performance. It also interacts with the notion of ‘electronic’ (image/sound/text) writing..."
In Renée, Guirguis honors his muse and lifetime companion. And when Guirguis is with Renée, nothing else matters.
It is not far fetched to draw the analogy that Guirguis Lotfy is to Egyptian visual arts what Salah Jahin (1930-1986) is to Egyptian poetry. Both celebrate Egypt's cultural fabric while not shying away from its shortcomings. Tirelessly, Lotfy depicts our feasts, celebrations, rituals and traditions - some still practiced today, others long forgotten. Pharaonic, Islamic or Coptic, his stunning canvases offer a personal take on these little moments of bonding and shared history or on some trivial and mundane scenes with ordinary people.
Describing his artistic process as literally looking out his window and painting what he sees, Lotfy shows an indefatigable commitment to his muse and attempts to bring forth both her beauty and contradictions. As he captures the essence of our Egyptian-ness, he reminds us that neither religion nor ideology can tear us apart. Don’t let yourself be fooled by the apparent simplicity and naivety of his crowded paintings! Guirguis Lotfy seeks to resuscitate an elaborate ancient Egyptian painting technique practiced two millennia ago in religious iconography and the famed Fayoum Portraits. By using bee wax or tempera colors dissolved in egg yolk with some gold leaf, Lotfy ensures the transmission of Coptic art - an identity, rather than a religion.
Together, Guirguis and Renée bring the past into today to provide answers for a better tomorrow. And like a storyteller, every detail is recollected, nostalgically pinching us in the heart as we feel the innocence and familiarity of those moments. Lovers, husbands, wives, children, carriages, donkeys, the fresca man, the porter, the fortune teller, the musician, the café, watermelons, Ramadan and Alexandria, all 'reveal the light that comes from people, much like saints were once portrayed in ancient paintings'. All look up in the sky towards infinity, like a calm prayer and give us a cherished snapshot of the world we live in; of the country we are so attached to and of the people we belong to. For Lotfy, Renée is Egypt. She is one and many. She is yesterday, today and tomorrow. She is his most haunting and conditional muse and he intends on making them both eternal.
Born in 1955, Guirguis Lotfy lives and works in Alexandria, Egypt. After receiving a BFA from Alexandria Faculty of Fine Arts in 1980, Lotfy went on to pursue his MFA on “Coptic painting from the 4th to the 8th Century” in 1990 and his PhD on “Coptic Art and its influence on Modern Art” in 1994 from the Cairo Faculty of Fine Arts. Hamed Owais (1919-2011) and Hamed Nada (1924-1990), two of Egypt’s modern pioneer artists, were closely involved at different stages in the supervision of Guirguis Lotfy’s masters and doctorate degrees respectively.
The document provides information about various aspects of theater, including definitions of key terms like theater, elements of theater, purposes of theater, and personnel involved in theater like producers, directors, performers, designers, and others. It also provides brief definitions and background on dance, cinema/motion pictures. Theater is described as a place for plays to be performed and also as an art form involving actors performing for an audience. Key elements include the actor, audience, written or improvised text, costumes, scenery, lights, sound, and props. Theater can entertain, instruct, motivate and more, depending on the interaction with the audience.
Born in 1962, an only child, brought up in London, attended a Roman Catholic school, had traumatic treatment at the hands of his father, losing his mother to cancer in 1977, when he were just 15, by which time he’d already commenced serious painting sold through private galleries, moved to Devon with his volatile father, ran a confectionary shop, experienced bankruptcy, yet all the while yearning to creatively express himself.
Instead of the expectations of his teachers for a highly gifted student to embark on a professional career in the arts, palaeontology or veterinary medicine, profound setbacks and circumstances blighted his academic advance: instead he mopped hospital floors but went on to qualify as a registered nurse for people with learning disabilities. After marrying at 21 to his wife in Devon, they both moved from Southampton to the opposite end of the UK, the Isle of Skye to give free reign to his creative vitality and verve.
The interactive presentation describes an art installation by Eytan Levy titled "I Saw Superman Trying to Stop a Taxi". The installation features children's drawings of Superman pinned to a canvas, as well as tin sculptures of women carrying painted glass. It explores themes of childhood, motherhood, and aging. Photos show an elderly man dressed as a former Superman, depicting the aging of a superhero. The works examine rituals and traditions through simple everyday objects and the fantasy of childhood heroes.
The speaker describes how their body began to fail as various organs and senses stopped functioning, starting with their hearing and eventually culminating with their heart ceasing to beat. As each part of their body broke down, from their tongue to their fingers to their vision, everyday tasks became impossible and the complexity of the world seemed to unravel. Finally, when their heart stopped vibrating, their blood turned deathly blue, their skin developed a fevered yellow hue, their breath evaporated, and they had to say goodbye to the earth after living for 50 years.
This document provides a biography of Polish theatre director Jerzy Grotowski. It outlines his early life and influences, including studying under Konstantin Stanislavsky in Moscow. It describes how Grotowski developed his theory of "Poor Theatre" which stripped away spectacle and focused on the actor's technique. The document discusses Grotowski's productions and experiments in Poland in the 1960s. It also covers his later work exploring ritual and traditions around the world. It notes that Grotowski eventually moved to the US and continued his research until his death in 1999.
Theater has been an entertainment form for audiences since ancient Greece, where actors would perform plays on stages in amphitheaters or other spaces. While buildings called theaters are commonly used today, any space can be used for a performance. A performance involves elements like a script, costumes, lighting, and other design elements. The audience provides feedback that affects the performers. There are various roles involved in a production, such as producers, directors, designers, and actors, who portray characters.
This treatment document proposes a concept and story for two potential State Farm insurance commercials.
The first commercial tells the story of Indian cricketer Virender Sehwag and his memories associated with various possessions. It follows Sehwag as he drives down memory lane, recalling his childhood practice sessions and India's World Cup victory. State Farm is portrayed as the guardian of these precious memories and possessions.
The second commercial portrays a family's car as a narrator that has witnessed the family's memories over time. It shows the car through key moments in the family's life from their marriage to holidays and festivals. State Farm is positioned as protecting the memories made with the car.
Both commercials aim
1. The document discusses the evolution of realism in art from the Renaissance period to the 19th century, focusing on how artworks became more realistic in their depictions of the human form and natural environments through techniques like chiaroscuro and sfumato.
2. It analyzes two paintings - Titian's "Venus and the Lute Player" from 1560 and Alexandre Cabanel's "The Birth of Venus" from 1875 - noting how they depict the female nude in increasingly realistic ways through the use of scale, proportion, color, and technical skill.
3. The transition from periods like the dark ages to the Renaissance showed great advancement in artistic techniques and skills, demonstrating how analysis of
Zarmeena Aslam and Sumera Jawad held an art exhibition titled "Dedicated To You" at Ejaz Art Gallery in Lahore. The exhibition focused on feminine feelings and experiences. Zarmeena's works depicted the hardships faced by female theater performers. Sumera's works symbolized women through roses and portrayed female fragility and the dominance of men in women's lives. Both artists used their art to express emotions through bold colors and anatomical studies.
The English language : 'I am' but 'I do' speak English! AND ? ITS WHISPERS O...Rituparna Ray Chaudhuri
"THE ENGLISH LANGUAGE: AND ITS WHISPERS OF IMMORTALITY".(DIRECT TO ALSO: http://archive.org/details/THEENGLISHLANGUAGEIAMBUTIDOSPEAKENGLISH) (http://www.slideshare.net/RituparnaRayChaudhur/the-english-language-i-am-but-i-do-speak-english)http://bit.ly/1Ps8sR7
German painter Christa Kieffer was born in Tubingen, Germany and recognized for her artistic potential as a child. She studied art extensively in Europe before moving to the United States to attend the Art Center College of Design in Los Angeles. Working primarily in oil paintings with luminous glazes, Kieffer was inspired by her perception of community excitement during the Belle Epoque era in France. She frequently traveled to Paris in the early hours to photograph the enchantment of the city cloaked in past glory. Kieffer's paintings focused on depicting cities as playgrounds during a balanced time of excitement and leisure through the juxtaposition of natural and artificial light.
The document describes a fond attachment to a fountain pen that has been used for many purposes over a long period of time. The pen is described as durable, capable of withstanding extreme use and helping to express thoughts through writing and drawing. It has fulfilled the writer's desire to explore and create, bringing comfort simply by its presence.
Analysis Of The Dance Of The Sugar Plum FairyRikki Wright
This essay discusses Trevor Nunn's 1977 production of William Shakespeare's play Love's Labour's Lost. It notes that the play was not highly regarded historically but has appealed more to modern audiences. Specifically, the play's unconventional ending, in which nothing is truly resolved, resonates with modern sensibilities. The essay analyzes Nunn's controversial directorial choice to add an opening scene depicting World War I violence, transporting the audience abruptly into the world of the play. This radical alteration of the play's introduction was meant to dramatically change the audience's perception and experience of the work.
Entertainment can take many forms and is an activity that holds audience attention through activities like performances, games, reading, and more. It generally involves an audience, who can play passive or active roles, watching or participating. Common types of entertainment include performances like theater, music, dance, magic, circus, and street performances; games; reading; comedy; banquets; and sports or fair events. Animals have also been used for entertainment by being displayed, competing, or performing routines.
This summary provides the key details from the document in 3 sentences:
Michelangelo's works exhibited both great strength and a subtle sweetness, with his sculptures imbuing inanimate objects like stone with a sense of life. His genius was focused on depicting the creation of man and the moment life emerges from lifeless material. Though his life was discordant and bitter at times, his poetry revealed his struggle to harmonize his passionate nature and find moments of respite from sadness.
This document introduces 9 artists who have been selected as ambassadors for the 2015 MAV MTC CONNECT program. It provides a short biography for each ambassador, describing their artistic backgrounds, experiences, and goals. The ambassadors represent countries including Iraq, South Africa, Ethiopia, Zimbabwe, Indonesia, and Serbia. They work in various art forms including acting, circus, dance, poetry, and interdisciplinary projects. The ambassadors express their passion for bringing more cultural diversity and diverse stories to Melbourne's theater scene.
This document discusses several performance artists and companies that have influenced the author's work. It provides biographical information on Anne Bogart and her company SITI, focusing on her development of the Nine Viewpoints technique and emphasis on interdisciplinary collaboration. It also summarizes key aspects of the work of Theatre Ad Infinitum, Earthfall, Joseph Mercier, and Jasmin Vardimon Company, highlighting their use of physical theater, storytelling, and exploration of themes like gender and identity.
The clothes were chosen for an artist because they show both her fun and colorful side as well as portraying her as down to earth by being from the high street.
blackBOX: Painting a digital picture of documented memory: PAPERTatiana Pentes
Pentes, T. 2005, 'blackBOX: Painting a digital picture of documented memory', Journal of Australian Studies, 84, pp. 141-141.
INTRO
"This article is an examination and critical positioning of my current digital media project blackBOX — Painting a Digital Picture of Documented Memory. blackBOX is an interactive CD-ROM ‘game’ and also an internet work. blackBOX seeks to exploit and enhance the creative potentials of digitally produced music, sound, image and text relationships in an interactive and online environment. This work seeks to reverse, obscure and distort the dominating/colonialist gaze in a playful manner. blackBOX is produced through the hybrid meeting of visual arts practice, digital film production and documentary dance performance. It also interacts with the notion of ‘electronic’ (image/sound/text) writing..."
In Renée, Guirguis honors his muse and lifetime companion. And when Guirguis is with Renée, nothing else matters.
It is not far fetched to draw the analogy that Guirguis Lotfy is to Egyptian visual arts what Salah Jahin (1930-1986) is to Egyptian poetry. Both celebrate Egypt's cultural fabric while not shying away from its shortcomings. Tirelessly, Lotfy depicts our feasts, celebrations, rituals and traditions - some still practiced today, others long forgotten. Pharaonic, Islamic or Coptic, his stunning canvases offer a personal take on these little moments of bonding and shared history or on some trivial and mundane scenes with ordinary people.
Describing his artistic process as literally looking out his window and painting what he sees, Lotfy shows an indefatigable commitment to his muse and attempts to bring forth both her beauty and contradictions. As he captures the essence of our Egyptian-ness, he reminds us that neither religion nor ideology can tear us apart. Don’t let yourself be fooled by the apparent simplicity and naivety of his crowded paintings! Guirguis Lotfy seeks to resuscitate an elaborate ancient Egyptian painting technique practiced two millennia ago in religious iconography and the famed Fayoum Portraits. By using bee wax or tempera colors dissolved in egg yolk with some gold leaf, Lotfy ensures the transmission of Coptic art - an identity, rather than a religion.
Together, Guirguis and Renée bring the past into today to provide answers for a better tomorrow. And like a storyteller, every detail is recollected, nostalgically pinching us in the heart as we feel the innocence and familiarity of those moments. Lovers, husbands, wives, children, carriages, donkeys, the fresca man, the porter, the fortune teller, the musician, the café, watermelons, Ramadan and Alexandria, all 'reveal the light that comes from people, much like saints were once portrayed in ancient paintings'. All look up in the sky towards infinity, like a calm prayer and give us a cherished snapshot of the world we live in; of the country we are so attached to and of the people we belong to. For Lotfy, Renée is Egypt. She is one and many. She is yesterday, today and tomorrow. She is his most haunting and conditional muse and he intends on making them both eternal.
Born in 1955, Guirguis Lotfy lives and works in Alexandria, Egypt. After receiving a BFA from Alexandria Faculty of Fine Arts in 1980, Lotfy went on to pursue his MFA on “Coptic painting from the 4th to the 8th Century” in 1990 and his PhD on “Coptic Art and its influence on Modern Art” in 1994 from the Cairo Faculty of Fine Arts. Hamed Owais (1919-2011) and Hamed Nada (1924-1990), two of Egypt’s modern pioneer artists, were closely involved at different stages in the supervision of Guirguis Lotfy’s masters and doctorate degrees respectively.
The document provides information about various aspects of theater, including definitions of key terms like theater, elements of theater, purposes of theater, and personnel involved in theater like producers, directors, performers, designers, and others. It also provides brief definitions and background on dance, cinema/motion pictures. Theater is described as a place for plays to be performed and also as an art form involving actors performing for an audience. Key elements include the actor, audience, written or improvised text, costumes, scenery, lights, sound, and props. Theater can entertain, instruct, motivate and more, depending on the interaction with the audience.
Born in 1962, an only child, brought up in London, attended a Roman Catholic school, had traumatic treatment at the hands of his father, losing his mother to cancer in 1977, when he were just 15, by which time he’d already commenced serious painting sold through private galleries, moved to Devon with his volatile father, ran a confectionary shop, experienced bankruptcy, yet all the while yearning to creatively express himself.
Instead of the expectations of his teachers for a highly gifted student to embark on a professional career in the arts, palaeontology or veterinary medicine, profound setbacks and circumstances blighted his academic advance: instead he mopped hospital floors but went on to qualify as a registered nurse for people with learning disabilities. After marrying at 21 to his wife in Devon, they both moved from Southampton to the opposite end of the UK, the Isle of Skye to give free reign to his creative vitality and verve.
The interactive presentation describes an art installation by Eytan Levy titled "I Saw Superman Trying to Stop a Taxi". The installation features children's drawings of Superman pinned to a canvas, as well as tin sculptures of women carrying painted glass. It explores themes of childhood, motherhood, and aging. Photos show an elderly man dressed as a former Superman, depicting the aging of a superhero. The works examine rituals and traditions through simple everyday objects and the fantasy of childhood heroes.
The speaker describes how their body began to fail as various organs and senses stopped functioning, starting with their hearing and eventually culminating with their heart ceasing to beat. As each part of their body broke down, from their tongue to their fingers to their vision, everyday tasks became impossible and the complexity of the world seemed to unravel. Finally, when their heart stopped vibrating, their blood turned deathly blue, their skin developed a fevered yellow hue, their breath evaporated, and they had to say goodbye to the earth after living for 50 years.
This document provides a biography of Polish theatre director Jerzy Grotowski. It outlines his early life and influences, including studying under Konstantin Stanislavsky in Moscow. It describes how Grotowski developed his theory of "Poor Theatre" which stripped away spectacle and focused on the actor's technique. The document discusses Grotowski's productions and experiments in Poland in the 1960s. It also covers his later work exploring ritual and traditions around the world. It notes that Grotowski eventually moved to the US and continued his research until his death in 1999.
Theater has been an entertainment form for audiences since ancient Greece, where actors would perform plays on stages in amphitheaters or other spaces. While buildings called theaters are commonly used today, any space can be used for a performance. A performance involves elements like a script, costumes, lighting, and other design elements. The audience provides feedback that affects the performers. There are various roles involved in a production, such as producers, directors, designers, and actors, who portray characters.
This treatment document proposes a concept and story for two potential State Farm insurance commercials.
The first commercial tells the story of Indian cricketer Virender Sehwag and his memories associated with various possessions. It follows Sehwag as he drives down memory lane, recalling his childhood practice sessions and India's World Cup victory. State Farm is portrayed as the guardian of these precious memories and possessions.
The second commercial portrays a family's car as a narrator that has witnessed the family's memories over time. It shows the car through key moments in the family's life from their marriage to holidays and festivals. State Farm is positioned as protecting the memories made with the car.
Both commercials aim
1. The document discusses the evolution of realism in art from the Renaissance period to the 19th century, focusing on how artworks became more realistic in their depictions of the human form and natural environments through techniques like chiaroscuro and sfumato.
2. It analyzes two paintings - Titian's "Venus and the Lute Player" from 1560 and Alexandre Cabanel's "The Birth of Venus" from 1875 - noting how they depict the female nude in increasingly realistic ways through the use of scale, proportion, color, and technical skill.
3. The transition from periods like the dark ages to the Renaissance showed great advancement in artistic techniques and skills, demonstrating how analysis of
Zarmeena Aslam and Sumera Jawad held an art exhibition titled "Dedicated To You" at Ejaz Art Gallery in Lahore. The exhibition focused on feminine feelings and experiences. Zarmeena's works depicted the hardships faced by female theater performers. Sumera's works symbolized women through roses and portrayed female fragility and the dominance of men in women's lives. Both artists used their art to express emotions through bold colors and anatomical studies.
The English language : 'I am' but 'I do' speak English! AND ? ITS WHISPERS O...Rituparna Ray Chaudhuri
"THE ENGLISH LANGUAGE: AND ITS WHISPERS OF IMMORTALITY".(DIRECT TO ALSO: http://archive.org/details/THEENGLISHLANGUAGEIAMBUTIDOSPEAKENGLISH) (http://www.slideshare.net/RituparnaRayChaudhur/the-english-language-i-am-but-i-do-speak-english)http://bit.ly/1Ps8sR7
German painter Christa Kieffer was born in Tubingen, Germany and recognized for her artistic potential as a child. She studied art extensively in Europe before moving to the United States to attend the Art Center College of Design in Los Angeles. Working primarily in oil paintings with luminous glazes, Kieffer was inspired by her perception of community excitement during the Belle Epoque era in France. She frequently traveled to Paris in the early hours to photograph the enchantment of the city cloaked in past glory. Kieffer's paintings focused on depicting cities as playgrounds during a balanced time of excitement and leisure through the juxtaposition of natural and artificial light.
The document describes a fond attachment to a fountain pen that has been used for many purposes over a long period of time. The pen is described as durable, capable of withstanding extreme use and helping to express thoughts through writing and drawing. It has fulfilled the writer's desire to explore and create, bringing comfort simply by its presence.
Analysis Of The Dance Of The Sugar Plum FairyRikki Wright
This essay discusses Trevor Nunn's 1977 production of William Shakespeare's play Love's Labour's Lost. It notes that the play was not highly regarded historically but has appealed more to modern audiences. Specifically, the play's unconventional ending, in which nothing is truly resolved, resonates with modern sensibilities. The essay analyzes Nunn's controversial directorial choice to add an opening scene depicting World War I violence, transporting the audience abruptly into the world of the play. This radical alteration of the play's introduction was meant to dramatically change the audience's perception and experience of the work.
Performance art is an interdisciplinary art form that uses the artist's body to create live performances for an audience. It became widely used in the 1970s but has origins in early 20th century avant-garde movements like Futurism and Dada. Performance art can incorporate various performing art forms like dance, music, theater, and magic. It encourages self-expression, imagination, and helps develop confidence in children while also teaching society self-knowledge through commentary on current attitudes and conditions.
The document discusses the relationship between theatre and politics and how it has evolved. It refers to Brecht's epic theatre as challenging Aristotle's approach by integrating economics and politics into plays to stimulate intellectual response in audiences rather than emotional response. The document also discusses how Brecht sought to dismantle the traditional naturalistic theatre and its illusion of reality by creating a new drama based on critiquing the ideological assumptions of bourgeois theatre.
The document is a reflective essay about the responsibilities of a theatre director. It discusses how the author's high school theatre class divided directing duties among students for their 50th anniversary production. Each of five students was responsible for directing selected scenes from one of the five chosen plays. This gave the students experience with the directing challenges of choosing a style and concept, working with actors through rehearsals, and coordinating with technical elements during dress rehearsals. The author realized how much work directing entails after taking on directing responsibilities for a section of the production.
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Valeria Bianchi is a 35-year-old Italian puppeteer who discovered her passion for puppet theatre through old family photos showing her great-grandfather founding a puppet theatre company in the late 19th century. This sparked her interest, though the tradition skipped a generation before she rediscovered it. She studied Commedia dell'Arte techniques in university and took a puppetry course in 2007. Now she creates award-winning performances around the world with her company UNTERWASSER, whose first project was the show "OUT".
Michelle Read is a playwright and theatre maker whose work focuses on experimental and immersive productions. The document provides a summary of some of her notable works from 2014 to 2000 including:
- "Game Over" (2014), a comedy about death and suicide for teenagers.
- "The Nation's Assets" (2012), a play using sex to metaphorically depict the rise and fall of the Irish economy.
- Several plays created through workshops with schools and communities.
- "Toxic" (2011), a fast-paced play set in post-crash Dublin exploring ethics.
- Several improvisational and immersive works created with her company READCO involving audience participation
This document provides information about absurd drama and the theater of the absurd. It defines absurd and discusses the origins and characteristics of absurd drama. Some key points include:
- Absurd drama depicts man's reaction to a seemingly meaningless world without direction or destination. It emerged in France after World War 2.
- Characteristics include a lack of plot, confused characters and dialogues, and meaningless existence. Famous playwrights who used this style include Beckett, Ionesco, Albee, and Pinter.
- The theater of the absurd uses comic elements to portray the human condition in an irrational world. It questions the meaning of life and emphasizes the absurdity and isolation of human existence.
The document discusses the concept of unity in art. It argues that all great works of art have a characteristic of completeness, where nothing can be taken away or added to the work. This completeness is another name for the principle of unity, where every work of art strives to be a unified experience. The document also examines how cultural unity is strengthened through sharing emotional experiences provided by works of art. Finally, it discusses how art from around the world can bring about global unity by providing a sphere where a global society already exists.
16 Mar 2015Reading Response The Vagina MonologuesThe Vagina M.docxhyacinthshackley2629
16 Mar 2015
Reading Response: The Vagina Monologues
The Vagina Monologues is a play comprising episodes written by Eve Ensler. This play is mainly based on the monologues made by a large number of women about their genital organ named “Vagina.” The author herself is a woman, so she has a good knowledge of the main theme of the play. The monologues made by several women about their experience of sexual relationship and their perceptions about vagina (Ensler, 2007). Different women have different thinking about their vagina. Some have quoted, “My Angry Vagina”, “Because he liked to look at it”, My Vagina was my Village” and many more. The content of the play is quite realistic as it is based on the monologues made from the personal experiences of the women. From the reading, it has been inferred that women of different age and background have different feelings about their vagina. Young women, married women, lesbians, sex workers, all have their own views about their vagina. The work is formed in a structured and interesting ways to keep the interests of readers to a greater extent. At some places, the play gives a negative portrayal of the sexual relationship of males and females. In all it has been inferred from the reading that though vagina is the supreme embodiment of all the females, yet they take it in different ways.
ALENEZI 1
Mar 25, 2015
Corpus Christie
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- The technical rehearsal process opened my eyes to the coordination required between all production elements. It's rewarding to see a fully-realized vision come to life on stage.
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Why the child is cooking in the polenta_Presentation
1. WHY THE CHILD IS COOKING
IN THE POLENTA
ACTOR
EDITH ALIBEC
DIRECTOR
DANA PARASCHIV
SUPPORT: CULTURAL DEPARTMENT OF THE CITY OF MUNICH, ROMANIAN CULTURAL INSTITUTE VIENNA/LONDON, GOETHE-
INSTITUT BUCHAREST, ROMANIAN CULTURAL INSTITUTE LONDON
ONE WOMAN SHOW
based on Aglaja Veteranyi's book
WINNER
2. Add a little bit of body
text
“Edith Alibec shows an
astonishing agility in her
performance of the Polenta
book.
One could only wish Fellini
had discovered Edith Alibec.
On the other hand it's nice
to see she has a career
ahead of her - and not
behind."
JENS NIELSEN
partner of Aglaja Veteranyi in the theatre
group "Die Engelmaschine" (The
Angel Factory; Zürich, Switzerland) for 8
years and literary executor of her work
3. For: the authenticity and freshness of the
theatrical act, for the acting artistry and
the finesse of the scenic interpretation,
which combines intelligently, intelligibly
and sensibly the ludic and the dramatic...
TV Reportage: http://bit.ly/2HzApwB
""It was like being thrown into the the world of
Fellini's movies..."
Review: http://bit.ly/ReviewValManescu
[...] Edith Alibec is a funny little creature who plays with our souls
using her body, voice and heart with an exuberant simplicity,
cuteness and emotional mobility. A text played by a smart little girl
who keeps the audience in a state of beatitude any actor would
desire.
Each second is an unpredictable surprise in itself through the variety
of expression means of the artist, from pantomime to the play with
her inexhaustible vocal nuances, song, silence, movement.
It seems that we can still hear the audience’s thoughts: “If only it
would never stop!”
Review: http://bit.ly/ReviewCarmenMihalache
A true revelation! I knew the text and I found its vulnerability in the extraordinary
recital "Whyt he child is cooking in the polenta" in which the very young actress
Edith Alibec made a demonstration of acting that deserves all the applause. Her
game is characterized by a strong naturalness, but artistic at the same time,
carefully filtered, through imagination, inventiveness and a lot of warmth.
You follow her seduced by the power and grace by which she is animating simple
objects, a scarf, a tuxedo, as characters with whom she has a relationship,
suggesting an atmosphere and reviving memories. Edith Alibec is versatile, sincere,
easily and credibly embodying the little girl who, living away from her country, is
painfully tried by the sense of uprooting. In this enchanting character of candor and
sensitivity of "écorché vif", the actress simply brightened us by convincing us that
she has a special kind of talent.
JURY's MOTIVATION
COCA BLOOS, LIVIU DOSPINESCU, NINA MAZURA
BACĂU FEST TROPHY
ACTORS FOR ACTOR TROPHY
ONORIFIC PRIZE ȘTEFAN IORDACHE
Bacău Fest Monodrame 2018, Romania
Winner of all 3 prizes
I love you can be said in many ways. Edith Alibec said it in her own way.
4. Producer: Edith Alibec
Director: Dana Paraschiv
Actor: Edith Alibec
Dramatization: Dana Paraschiv, Edith
Alibec
IN SHORT
English
German
Romanian
Subtitles
English, German, Romanian, French, Spanish,
Hungarian, Slowakian
Support
Kulturreferat München
Romanian Cultural Institute Vienna
Goethe-Institut
Kulturreferat Passau
Romanian Cultural Institute London
Theatre show after Aglaja Veteranyi's book
"Why the child is cooking in the polenta"
The show can be staged in
Zürich - Switzerland (German) - Cabaret Voltaire
London - UK (English)
New York - USA (English)
München - Germany (German)
Passau - Germany (German)
Bucharest - Romania (Romanian, German)
Shows staged in
Halls
Festivals
Cabaret Voltaire (Zürich)
Pasinger Fabrik (München)
Odeon Theatre (Bucharest)
Redoute Theatre (Passau)
Bacau Fest Monodrame 2018
Marathon of Independent Theatre
Bucharest 2017
Days and Nights Festival Braila 2017
Tragos Festival Tulcea 2017
United Solo Festival New York 2017
JURY
5. 'When the actress started talking she could render a sensitivity which
reminded me of Aglaja Veteranyi.
Later on, as the action amplified and the dramatism increased, I felt that the
way this little girl performed Aglaja’s role was so real, that I could hardly
believe she was a professional actress. In my inner self she was taken for
Aglaja more and more, which meant that she really loved Aglaja and in that
moment she could feel her due to the love she bore for her. As this is when
you, as an actor, are able to melt with the character - when you really love it.'
NORA IUGA, TRANSLATOR
LIANA CETERCHI, DIRECTOR
Link VIDEO NORA IUGA:
http://bit.ly/NoraIuga
'The young actress, Edith Alibec, is able to express on her own the
wide variety of situations and characters with just one look, one
intonation or minimal gestures. I have admired her movement
plasticity, the internal fire and most of all the flame of the talent
which flickered in her eyes throughout the show. She certainly is a
talent in full swing and her courage, tenacity and passion are the
engines which push her forward. She has all my appreciation.'
6. I watched fascinated the show presented at Cabaret Voltaire.
The actress has gone deep into the sublayers of the text,
which she played with a lot of energy, verve and easiness.
The contact with the audience was made immediately and
continued with the same intensity throughout the piece. Edith
Alibec seems to play with a sincere joy that is transmitted
instantly to the spectators.
WHAT THE AUDIENCE SAYS
Alina Mondini, spectator in Zürich
Edith Alibec - it’s simple, it’s a joy to see her play.
Alexandra Florea, spectator in Zürich
I had no idea what to expect from this play, and
was delighted by every moment of it. Edith
Alibec is a performer with tremendous range and
emotional depth. Her story of a woman growing
up unprepared for the world by her parents and
community was profoundly compelling, and
elicited the deepest sympathy and engagement.
Penn Genthner, Director of Institutional Advancement at the
Vineyard Theatre, New York
Me and my friends saw this yesterday at the Romanian Cultural
Institute in London and boy what a treat this was!! Brilliantly
orchestrated in a creative, minimalist style, with cleverly chosen
music, lighting, props and wardrobe, The show will linger with you
long after the closing line. Edith is a fantastic actor, you will be
hypnotised by her raw performance as she will play with your
emotions like a skillful puppeteer. In the end, through the
bittersweet aftertaste of the experience, you will want to read
Aglaja again. I can’t wait to see the play staged in London as I feel it
deserves a much greater audience.
Sorana Sima, spectator in London
I saw an interesting, original performance, with a
wonderful actress, whom we will surely hear about.
Olivia Carabella, spectator in Munich
The actress succeeds arrestingly to depict the
different phases and experiences of life, the multiple
wishes and fears, the laugh, the pleasure, the
suffering, and the pride of a young human being,
whom over and over again is reminded she is exotic,
she doesn’t belong there. One does not only watch
magnetized – one becomes also thoughtful…
Edith Alibec is an extraordinary acting phenomenon, her acting has
great intensity, wit and drama. Edith Alibec touches everyone
through the impudence of her representation. And I was moved to
tears in the final scene.
Exactly this combination between the social actuality of the
theme with the personal biography of the actress makes her
theatre project fascinating, striking and comprehensible.
With seriousness, which is blended over and over again with
humour, she knows how to bring the material to life and to
fascinate the spectator, who, like her, appears either
thoughtful or laughing. And so her work is about only one
thing: the reality between homeland and foreign land,
equally enigmatic and frightening. For the spectator there is
then the migration subject theatrically haunting, moving and
yet entertaining brought close to him/her. Exactly this
mixture is what our society needs and what brings the
spectator to the theatre.
Ilse Lauer, theatre academic in Munich
Sina Hübner, Cultural PR in Munich
Andrea Siering, Swiss filmmaker
7. FINANCING SUPPORT
”I am convinced that the decision to present Edith Alibec's monologue at
Cabaret Voltaire in Zürich, Switzerland, was very inspired. The strength and the
innocence of Aglaja Veteranyi have found place in the scenic universe furnished
with a lot of talent. A full house laughed and wept bitterly in front of this
endearing and unique story..”
IRINA CORNIȘTEANU, Director Romanian Cultural Institute Vienna
”Going through the different staged elements, Miss Alibec succeeded a very
interesting and expressive theatrical form of the migration theme. The project can
be highly recommended for further representations.”
”A disturbing text about a tortured life until it becomes unbearable, interpreted
with volcanic pathos and psychological finesse by Edith Alibec, a young and very
talented actress.”
CHRISTOPH SCHWARZ, Kulturreferat München
DORIAN BRANEA, Director Romanian Cultural Institute London
"The one-woman show “Why the is child cooking in the polenta?” is as simply
built as it is psychologically intrusive by means of its metaphors and depth.
The anxiety experienced by the character, the ingenuity or the contradiction she
faces almost unpredictably, makes you laugh and cry at the same time. The
currentness of the questions related to “home”, the feeling of being a foreigner,
of integrating or, on the contrary, the inability to “be at home”, and the
continuous search for identity, come out sharply and painfully disguised in the
innocent- eccentric performance and deeply emotional interpretation of the
actress."
LAVINIA CAZACU, Project Manager Goethe-Institut Bucharest
8. HOW
WE STARTED
Born and raised in Romania, Edith Alibec lived in Germany for three years,
where she attended acting and film directing classes at Athanor Akademie,
under the guidance of Professor David Esrig. Having experienced life as a
foreigner and, moreover, having seen on-site the refugee crisis burst out in
Germany, she strongly felt the urge to speak about the absence of a place
called home. She had already known Aglaja Veteranyi’s novel, but it got a
totally different weight the moment when she herself lived abroad just like the
novel’s heroine.
After two months of research, interviews with social counselors assisting
refugees, and even with young refugees (from Syria, Afghanistan), Edith Alibec
created a concept and submitted it to the Cultural Department in Munich,
Germany, which accepted to provide the funding for staging the theatre play.
Dana Paraschiv, as director, joined the project, and, for one month and a half, in
February 2016, lived in Germany, where together with Edith Alibec as an
actress, shaped the one-woman show in German, which had its opening night
at MUCCA on March 9, 2016, at the Balkan Days Festival in Munich.
9. WHERE WE
ARE NOW
Since then, the show has been staged in different cities in
Germany, Switzerland, UK, Romania, USA with mixed audiences,
of both natives and foreign nationals (Romanians, refugees etc.),
whom the show directly addresses.
The show was also positively reviewed by Nora Iuga - translator
of Aglaja Veteranyi's texts, Jens Nielsen - Aglaja Veteranyi's
partner in the theatre group "The Angel Factory", Lucian Sabados,
Director Maria Filotti Theatre Braila, Angela Ellinger - publishing
rights for the book Random House Munich Publishing, Christian
Haller - Swiss writer, Christoph Schwarz - Kulturreferat Munich,
Catalin Dorian Florescu - Swiss writer, Irina Cornisteanu - Director
Romanian Cultural Institute Vienna and others.
The show has been part of numerous festivals and supported by
various prestigious institutions: Goethe Institute Bucharest, The
Romanian Cultural Institute Vienna/London or Kulturreferat
Munich. The announced shows for 2018 will be in Stockholm
and Brussels and other dates are expected to be confirmed.
10. “A show as it should be: dense, poetic, very
visual. No word is too much, not a minute
too long.“
CĂTĂLIN DORIAN FLORESCU, WRITER
11. SHOWS
Zürich
Cabaret Voltaire
6 November 2016
Supported by
Romanian Cultural Institute
Vienna
München
MUCCA
9,10 March 2016
"Balkan Days" Festival
Pasinger Fabrik
10 May 2016
Supported by
Kultureferat München
Passau
Redoute Theatre Passau
15 April 2016
Supported by
Kultureferat Passau
Bucharest
Odeon Theatre*
10 May 2017
Godot Theater
10 March, 8 April, 2 June 2017
Teatrelli
27 June, 23 July 2017
*Supported by
Goethe-Institut Bucharest
12. SHOWS
Brăila
Maria Filotti Theatre
Days and Nights Festival
22 September 2017
Opinion of the show by Lucian
Sabados, director Maria Filotti
Theatre
http://bit.ly/LucianSabados
Tulcea
Jean Bart Theatre
Targos Festival
6 October 2017
Bucharest
Green Hours
MTI - Marathon of Independent
Theatre
1 October 2017
Constanța
FITIC- International Independent
Theatre Festival
3 September 2017
London
RCI Cultural Space
12 October 2017
Supported by
Romanian Cultural Institute
London
New York
Theatre Row
United Solo Festival
1 November 2017
Supported by a Indiegogo
crowdfunding campaign
http://bit.ly/EdithUnitedSoloNY
14. “Wonderful poetry, lightness and at the same time
depth, without providing any answers; You do not
want to let her go in the end, this lonely girl...”
Svenja Herrmann, lyricist
"Thanks to the simple production, she fills the space
with her nuanced acting, her strength and her charm,
and allows the text to flourish in its wealth of
emotional worlds."
Christian Haller, writer
“Poetically staged with a brilliant, transformative
actress.”
Sonja Caruso, teacher
15. THE BOOK
approaches the foreigner’s identity problem in an era
in which very many are everywhere at home, and, at
the same time, nowhere really;
is a prose poem, or a Bildungsroman, in 4 parts,
aiming at the deconstruction of illusions;
was written by Aglaja Veteranyi, she herself a
child who fled Romania together with her
family in 1968, when she was 6, and grew up
in a circus; thus the book lies at the border
between reality and fiction. “My imagination
itself is an autobiography” Aglaja Veteranyi;
is the story of a Romanian family of artists, who is
always on the road, foreign but still at home in the
foreignness. The story is told from the perspective of
the youngest child. She is a growing up girl, sure of
herself and in the same time anxiously enquiring –
and remaining without an answer. The child lives in
two worlds: the colorful, transfigured circus world,
but also the harsh reality of a life always on the road.
Full of illusions, the family pursues the promises of
the West, a big house will be bought, the girl will
become a film star, but the events take a completely
different turn.
16. THE SHOW
follows the book’s structure, being divided in four parts:
1. life on the road alongside her family with the circus and the caravans
2. the abandon and her contact with the school strictness in Switzerland
3. her parents’ break up, her mother’s accident and her job at Variete
4. her return to Switzerland and her desire for integration;
lasts about 1 hour and 10 minutes;
can be played in English, German and Romanian.
the scenography is simple, being designed such as to be
played in any type of place;
stage props/properties will be brought exclusively by us
(costumes, a small wooden stool, other elements). We only
need a black front/apron that serves as backstage.
Structure
Technical aspects
necessary equipment: 9 stage lights and an audio system;
17. Who could bring to the stage the novel
"Why the child is cooking in the polenta"
by Aglaja Veteranyi better than a
Romanian actress who has lived in
Germany for three years and
experienced migration the hard way?
Edith Alibec knows how to make visible
the sound, the worries, and the
desperation felt in the reading between
the lines, and still manages to maintain
the lightness and the humor of the text.
It is amazing how you can depict a
whole world with all its facets with
only one actress, few props and a
simple set-up, and make it credible to
the viewer.
I wish Edith Alibec to be a guest in many
cities and countries with her
implementation and can thus carry a
piece of interculturalism.
ANGELLA ELLINGER
License department Random House Publishing
Munich
18. WHO WE ARE
DANA PARASCHIVEDITH ALIBEC
Actress / Producer Director
t
Bucharest, ‘89, graphic art at N.
Tonitza High School, Drama Faculty-
Acting, Dan Puric troupe, and now
theatre directing.
Constanta, ’89, first the
University of Economics Bucharest,
then acting, Athanor Akademie in
Germany, studies with David Esrig,
actress, independent producer of a
theatre play and short films in
Germany.
19. DANA PARASCHIVEDITH ALIBEC
"I am very happy that I met Edith. I was
impressed by the show and the
professionalism she demonstrated. The
unexpected technical incident convinced
me once more of that. She proved an
enormous self-control in the way she
revived the story line, divinely, absolutely
impressive!
I am sure she will have a brilliant career,
one can see she is very fond of what she is
doing and she has a natural talent. I was
fascinated by her confidence, the well
balanced humour in intonation and
gestures, and also by the strength with
which she flawlessly controlled the
increasing intensity in the dramatism of
the character’s life. Each and every
moment she kept me close to her little
heroine’s experiences, with whom she
identified herself with every breath,
motion and quiet little thrill."
OANA CUZINO
TV show presenter "What's going on,
doctor?" at ProTV, Romania's leading
cable network