“Idle is not one of the speeds in Jackie Chan’s gearbox. ‘Sometimes I look at some other actors, famous actors,’ he says incredulously. ‘They’re so comfortable! After filming, just holiday! With a girlfriend or the family.’ After filming, Jackie tends to an ever-expanding portfolio of business interests, and then he makes more films.”
Tag: 10.03.17
If We Can’t Even Gather Together For A Performance Without Worrying About Getting Shot, We’re Doomed
LA Times theater critic Charles McNulty: “We feed our minds and spirits as well our bodies. My way is theater. Yours might be movies, sports or church. It makes no difference. With gun regulation as irresponsibly lax as it is, we are all just a maniac away from being on the next casualty list.”
How A Dancer ‘Unwinds’ Bharatanatyam, South India’s Classical Dance
Says Pranita Nayar, who has studied the form for decades, “My audience is not from a thousand years ago, so what are we preserving? For whom am I preserving it? … [What’s more,] the bharatanatyam of today is only about 100 years old.”
How To Fix The Gender Gap In Musical Theatre
First of all, name the problem. “When talking about gender parity in writing for the theatre, most of the conversation focuses on plays. Musicals get lumped in, and we assume the same solutions will impact both media once implemented. I don’t believe that’s true. Musical theatre is a related but different medium from playwriting. The path to production is different. The financing is different. The means of exposure are different. We need to be talking about musicals separately.”
Canada Has A New Cultural Plan. But What If It’s Wrong?
The problem with Creative Canada isn’t that it devotes money to artists. It’s that it treats those artists as tech entrepreneurs. The ethos of Silicon Valley is encoded into the very dna of our new policy framework. Artists, says Creative Canada, are valued not for the art they produce but for “playing a critical role in driving innovation.” The plan answers the call “for developing the business, technology and entrepreneurial skills of Canadian artists and creators.”
Curator Andrew Hunter Suddenly Quit Toronto’s Art Gallery Of Ontario. He Explains His Indictment Of Museums
” ‘Value’ is decided by the very few and then presented to the many. When I look at the AGO and so many of its peers, I see an institution guided not by public participation, but by the generic, elite consensus that rules the global art market, which sees product over public good.”
You’re Probably Not As Self-Aware As You Think You Are (But You Could Get Better At It)
“‘On a good day, 80 percent of us are lying to ourselves about whether we’re lying to ourselves,’ [psychologist and author Tasha] Eurich says. Making things extra tricky is the fact that self-awareness has two components: Internal self-awareness is the ability to introspect and recognize your authentic self, whereas external self-awareness is the ability to recognize how you fit in with the rest of the world. ‘It’s almost like two different camera angles,’ Eurich says. … To be truly, fully self-aware, you need both components – a feat that’s difficult to pull off for pretty much anyone. But, it’s worth noting, not impossible.”
Wayne McGregor Creates Choreography From His Own DNA Code
The “resident brainbox of British dance” tells David Jays about how he got a lab to sequence his entire genome (“three billion bits of information,” McGregor says excitedly, “60 volumes of the Encyclopaedia Britannica”), created a series of “choreographic events,” and uses a software algorithm based on his DNA to sequence those “events” differently for every performance. (Yes, he knows that’s hard on his dancers.)
New York City Ballet Loses A Principal Dancer But Gains A Ballet Master
This Saturday, Rebecca Krohn performs with the company where she has danced for 19 years; next week, she starts her new role training and coaching her colleagues. Terry Trucco talks to Krohn about her career journey.
Basquiat – From MoMA Reject To Artworld Superstar
One thing that is now universally appreciated is Basquiat’s importance as an artist. Institutions were slow to understand his work and he is woefully under-represented in museum collections. In his recent monograph, The Art of Jean-Michel Basquiat (published by Enrico Navarra Gallery, New York), Fred Hoffman writes that in the year following Basquiat’s death, Herbert and Lenore Schorr offered the Museum of Modern Art in New York the opportunity to choose a painting from their collection as a gift. “The museum replied that having a painting by Jean-Michel Basquiat was not even worth the cost of the storage.”