Lyn Gardner, in a post-Edinburgh column, considers plays that “have a fractured messiness that upends some of the traditional ways we tell stories on stage. … We need to recognise that what might once have been considered failings are in fact their strength. It is theatre that is as much about disrupting the traditional form as telling stories about women that are different from those traditionally told, if they have been told at all.”
Tag: 09.03.18
Who’s The Next Ivo Van Hove? The Guardian Picks Five Of Europe’s Hottest Experimental Theatre Directors
Matt Trueman’s list includes an Austrian who has actors lip-sync amid candy-colored stage designs, a Frenchman who stages marathon adaptations of great novels, an Austrian who creates devised theatre with ethnic minority and refugee casts, a Vietnamese-Frenchwoman who draws from both literature and post-colonial experience, and a Croatian whose ferociously confrontational work regularly attracts death threats.
How The Paul Taylor Dance Company Will Keep Going Without Taylor
The Paul Taylor Foundation’s new artistic director, Michael Novak, and executive director John Tomlinson tell reporter Colin Moynihan about some of the measures the choreographer took in the year before he died and some of the particular plans they have to preserve both Taylor’s dances and his company.
Debut Of Leonardo’s ‘Salvator Mundi’ At Louvre Abu Dhabi Postponed
The world’s most expensive artwork, which was purchased for the Louvre’s UAE franchisee last fall at a price of $450 million, had been scheduled to go on view there on September 18. Now the Abu Dhabi government has called the occasion off, with no explanation and no new date yet given.
New Yorker Festival Announces, Then Drops, Steve Bannon As Headliner
“The announcement [disinviting Bannon] followed several scathing rebukes and high-profile dropouts after the festival’s lineup, with Mr. Bannon featured, was announced.” (One guest who withdrew, comedian Patton Oswalt, suggested Milo Yiannopoulos as his replacement.) Top New Yorker editor David Remnick also encountered stiff resistance from members of the public and the magazine’s staff.
Fire Destroys Brazil’s National Museum
“Founded in 1818 [in Rio de Janeiro], the museum is Brazil’s oldest scientific institution and one of the largest and most renowned museums in Latin America, amassing a collection of some 20 million scientifically and culturally invaluable artifacts.” Says one Brazilian scientist, “The importance of the collections that were lost couldn’t be overstated. They were unique as it gets: Many of them were irreplaceable, there’s no way to put a monetary value on it.”
What Was Lost In The Brazilian National Museum Fire?
Firefighters and museum staffers were able to remove some items from the burning building in Rio, so it will take time for the scale of the destruction to become clear, but here is an overview of what the museum contained, including an 11,500-year-old skeleton, coffins from ancient Egypt, frescoes from Pompeii, pre-Columbian and indigenous art and artifacts, and a major fossil collection.
Museum Inferno: Lessons from the Hellish Devastation at National Museum of Brazil
Even in times of budgetary constraint, cultural institutions must not be shortchanged when it comes to financial support for their most basic function—the protection of the irreplaceable objects of cultural and scientific importance that are in their care.
Monday Recommendation: Early Monk
Thelonious Monk: The Complete Prestige Recordings
Any Monk collection without the Prestige dates is missing the pianist’s early partnership with Art Blakey, who is considered by many musicians and critics to have been Monk’s ideal drummer.
How Blue Can It Get? Simon Schama Visits The Pigment Archive Of Record
“Rows of pigments in tubes, jars, and bowls are visible through the doors of floor-to-ceiling cabinets. … There are the products of nineteenth-century chemical innovation — viridian green, cadmium orange, and the chrome yellow with which van Gogh was infatuated but which, over time, has begun to darken his sunflowers. But at the heart of the Forbes Collection are the natural pigments that were the staples of painters’ inventories before chemically synthesized paints replaced the impossibly esoteric, the dangerously toxic, the prohibitively expensive, and the perilously fugitive.”