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3 episodes with arturo ui
3 episodes with arturo ui
2 episodes with arturo ui
2 episodes with arturo ui
2 episodes with arturo ui
2 episodes with arturo ui
2 episodes with arturo ui
Max Horkheimer dachte in den 1930er- und 40er-Jahren intensiv über den Kapitalismus nach, aus dem sich der Faschismus entwickeln konnte. In seinem kurzen Text „Die Rackets und der Geist“, der eigentlich der Aufschlag für ein größeres Forschungsprogramm werden sollte, setzt er sich mit Banden- bzw. Clan-Strukturen auseinander, die so dominant werden können, dass sie alles beherrschen und letztlich sowohl den marktwirtschaftlichen Liberalismus wie auch das Recht außer Kraft setzen. Wenn wir heute die Herrschaftsstrukturen in Russland, Ungarn oder zunehmend auch in den USA betrachten, scheint Horkheimers Charakterisierung der Racket-Herrschaft wieder zuzutreffen. Allerdings birgt dieser Begriff auch Probleme, da er oftmals unscharf bleibt. Zugleich will Horkheimer die Herrschaft des Rackets als eine grundsätzliche Eigenschaft von Herrschaft betrachten, die nicht nur unter einem Monopolkapitalismus zum Vorschein tritt. In der neuen Folge von „Wohlstand für Alle“ sprechen Ole Nymoen und Wolfgang M. Schmitt über die Rackets der Vergangenheit und Gegenwart. Literatur: Bertolt Brecht: Der aufhaltsame Aufstieg des Arturo Ui, Suhrkamp. Thorsten Fuchshuber über den Racket-Begriff: https://www.ca-ira.net/thorsten-fuchshuber-ueber-rackets-als-struktur-in-der-neuen-iz3w/. Max Horkheimer: „Die Rackets und der Geist.“ In: Gesammelte Schriften, Band 12, S. Fischer, S. 287–291. „Handelsblatt“-Interview mit Katharina Pistor: https://www.handelsblatt.com/politik/international/usa-fuer-trump-und-musk-sind-universitaeten-parasiten-die-auf-der-staatskasse-liegen/100123600.html Termine: Ole und Wolfgang sind am 18.05. in Trier: http://www.museumsstadt-trier.de/downloads/Museumstag_2025_Leporello.pdf Ole ist am 19. 05. in Trier, um über sein Kriegsbuch zu sprechen: https://www.instagram.com/p/DJn9D7Iqv5m/?hl=de Wolfgang ist am 20.05. in Bremen: https://www.uni-bremen.de/fileadmin/user_upload/fachbereiche/fb10/fb10/pdf/PlakatGastvortrag_Schmitt.pdf Wolfgang ist am 21.05. in Erlangen: https://www.gew-bayern.de/aktuelles/detailseite/durch-die-linse-des-profits-hollywoods-kapitalismuskritik Unsere Zusatzinhalte könnt ihr bei Apple Podcasts, Steady und Patreon hören. Vielen Dank! Apple Podcasts: https://podcasts.apple.com/de/podcast/wohlstand-f%C3%BCr-alle/id1476402723 Patreon: https://www.patreon.com/oleundwolfgang Steady: https://steadyhq.com/de/oleundwolfgang/about
Papatheodorou, Ilia www.deutschlandfunkkultur.de, Rang 1
Lucy trained at LAMDA following a degree from the University of Cambridge. Alongside acting she also has her own theatre company "Go People", a company that specialises in intimate drama. Previous productions include: - Almost - Maine - And a 7 actor cast of A Midsummer Nights Dream More information can be found at: www.wearegopeople.com As well as the creator and host of her own podcast "Hear Me Out", available wherever you get your podcasts, where she talks to actors and creatives about some of their work and their favourite speeches from plays. As an actress, Lucy has worked across stage and screen, her credits include: For Stage: - Almost, Maine and Daisy Pulls It Off - Park Theatre - The Provoked Wife - also with "Go People" - Midsummer Nights Dream - Southwark Playhouse, directed by her brother and creator of "Staged" Simon Evans - The Resistible Rise of Arturo Ui by Brecht - Donmar Warehouse - Bell, Book and Candle with theatre company "Theatre in the Clouds" - The Day in the Death of Joe Egg - Trafalgar Studios For TV: - Murder Maps - Netflix - Staged Series 1-3 as "Lucy" with David Tennant, Michael Sheen, written and directed by Simon Evans. A love letter to the acting industry through the pandemic. Lucy talks about the rewards and challenges of producing theatre, getting a show up and running and how making shows in an intimate space makes the best theatre. Including the process of filming and making "Staged", and she performs her favourite speech like she asks her guests on her own podcast. Lucy reads "Gallop apace, you fiery footed steeds" from Romeo and Juliet (Act 3 Scene 2). Please like, download and subscribe! Oliver Gower Spotlight Link: https://www.spotlight.com/9097-9058-5261 Instagram: @goweroliver For enquiries and requests: olliegower10@gmail.com
We had a great conversation with Actress Charlotte Kirk on The Chris & Sandy Show. We talked about several of her upcoming movies, her life plus a whole lot more!Award winning Actress, Writer, and Producer, Charlotte Kirk co-wrote, produced and stars in the British gangster movie Duchess directed and co-written by Neil Marshall (The Descent, The Lair, The Reckoning, Dog Soldiers) being released by Saban Films on August 9th and portrays Nicole Brown Simpson in writer/director Joshua Newton's true crime drama The Juice to be released in 2025. As part of the Scarlett Productions slate, Charlotte co-wrote, produced and stars in the British gangster movie Duchess and follows Charlotte Kirks character Scarlett Monaghan's rise from a working class criminal to a ruthless crime leader. This is to be released in 2024 directed by Neil Marshall. The film also starred Colm Meaney, Stephanie Beacham, Phillip Winchester and Sean Pertwee. Charlotte is an award-winning actress having won 13 awards and received 12 nominations. She enjoys singing and performed the end title track for No Panic with a Hint of Hysteria. Charlotte also just completed starring in the erotic thriller movie Compulsion opposite Anna Maria Sieklucka to be released in 2025 and just completed shooting an indie thriller opposite Jesse Metcalfe and and an action film starring Dolph Lundgren.In early 2015, Charlotte landed a starring role in Vice, (Lionsgate 2016) a sci-fi thriller, opposite Bruce Willis and Thomas Jane. In 2018 Charlotte co-wrote, produced & starred in Award winning movie The Reckoning directed Neil Marshall. The movie was shot in the summer of 2019 in Budapest, Hungary and released theatrically around the world throughout 2020. It was #2 in theatre's and on iTunes during its opening week. Charlotte won multiple awards for her intense dramatic performance in the film. In 2020, Charlotte completed the action horror hit movie The Lair, also co-written, produced & starred in and directed by Neil Marshall, and was released in 2022. The Lair had its world premiere in Leicester Square IMAX as the opening night gala presentation at 2022's FrightFest film festival.Charlotte returned the UK in 2021 to focus on creating her own projects. Charlotte formed Scarlett Productions and Primal Empire studios Ltd. and has several feature film projects currently in development and production.Charlotte has completed seven feature films since, including the female lead opposite Stephen Baldwin in film-noir comedy No Panic with a Hint of Hysteria'(Dir. Tomasz Szafranski), the female lead in psychological drama The Depths (award winner at 7 film festivals), alongside appearances in How To Be Single (Warner Bros 2017) and Ocean's 8 (Dir. Gary Ross, Warner Bros. 2018) opposite Sandra Bullock.Charlotte took her first steps in theatre (aged nine) she performed in Greek tragedies Agamemnon and Arturo Ui, following hot on the heels with West End musical theatre productions of A Christmas Carol, Oliver Twist and Hairspray having attended the prestigious Italia Conti School of Acting in London, her skills were further refined training with Jigsaw Performing Arts in the UK and renowned method acting coaches Susan Batson and Lee Strasberg in New York City. Having grown up in South East London, Charlotte moved to the US in her early 20's to pursue her career; first to New York, then to Los Angeles where she spent the next 10 years.She currently resides between London and Los Angeles.
Mahira Kakkar: Off-Broadway: 7 Minutes, Waterwell; Here We Are, Theater for One; Addressless, Rattlestick; Opus, Primary Stages; Harper Regan, Atlantic; Romeo and Juliet, Public Theater; The Winter's Tale, TFANA; When January Feels Like Summer, EST; Henry VI, NAATCO; Arturo Ui, Classic Stage Company; Ms. Witherspoon, Playwrights Horizons; Clive, The New Group. Regional: Life of Pi, A.R.T.; Skylight, McCarter Theatre; Rafta Rafta, Old Globe; Our Town, OSF; Monsoon Wedding, Berkeley Rep; Bedroom Farce, Huntington Theater Company; Inana, Denver Center; The Crucible, Cleveland Playhouse; Five Mile Lake, McCarter Theatre; Comedy of Errors, Hartford Stage, Jesus in India, Magic Theater. Film/TV: “A Suitable Boy” (series lead), “Manifest” (recurring), “New Amsterdam,” “Blue Bloods,” “The Blacklist,” “Louie,” “Odd Mom Out,” “Sweet Refuge,” “Bite Me,” Hank and Asha (Napa Valley Film Festival Best Actress, Wild Rose Festival Best Actress, Slamdance Audience winner, Bronze Lens winner), “Law & Order,” “Orange Is the New Black.” Training: Juilliard, SITI, Harold Guskin; B.A. Jadavpur University. mahirakakkar.com Salma Qarnain is a versatile Pakistani American actor, thrilled to be making her Broadway debut in the adaptation of one of her favorite books. She is a two-time Helen Hayes Award recipient, an AUDELCO nominee, and an award-winning theater and film producer. She has performed across major networks (ABC, NBC, CBS, HBO, HBO Max, Hulu, Showtime), regionally, Off-Broadway, and Off-West End. Most recently, she produced the 2023 Oscar-qualified short film, Silent Partner (19 festivals / 4 Oscar qualifiers; 8 awards / nominations) and Speak Up Brotha!, which is premiering at the Oscar-qualifying Cleveland International Film Festival. Selected credits: Bars and Measures (Off-Broadway); Acquittal (Off-Broadway); Rain + Zoe Save the World (Off-West End); “That Damn Michael Che” (RECUR, HBO Max); “FBI” (CBS); “The Blacklist” (NBC); “Law & Order: SVU” (NBC); “For Life” (ABC). Graduate of Stanford, MIT, Harvard Business School. Proud member of SAG•AFTRA, AEA, Equity. Thank you to Roderick, Gary, Lolita, Max, Finn, Duncan, Benton, Patrick, A.R.T, and Annette for getting me here. Love you, X! For my sisters Ayesha, Sonia, and Zehra and my parents Qarnain and Rashida in the stars. IG: @salma.qarnain; salmaqarnain.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
Chatting With Sherri welcomes actor, singer, director, writer and artistic director of the State Theatre Company of South Australia; Mitchell Butel! Mitchell holds four Helpmann Awards, four Sydney Theatre Awards and two Victorian Green Room Awards for his work as a director, actor and writer in Australian theatre over three decades. He has also worked in New York, London, Hong Kong and New Zealand. He has worked extensively for Sydney Theatre Company, Melbourne Theatre Company, Queensland Theatre, State Theatre Company South Australia, Belvoir, Bell Shakespeare, Griffin, Malthouse, Opera Australia, Sydney Chamber Opera, Pinchgut Opera, Most recently, Mitchell directed Giovanni Busenello's The Loves of Apollo and Dafne for Pinchgut Opera and the sold-out season of Dennis Kelly's Girls & Boys for State Theatre Company South Australia during the Adelaide Festival (and its tour to Sydney Festival and Theatre Royal, Hobart). For the Company, Mitchell has also directed Edward Albee's The Goat or, Who is Sylvia?, David Lindsay-Abaire's Ripcord, His performing highlights in theatre, music theatre and opera include A Gentleman's Guide to Love and Murder, The Resistible Rise of Arturo Ui, The Merchant of Venice (as Shylock for which he won the Sydney Theatre Award for Best Actor), Mr Burns (Helpmann Award Best Supporting Actor), South Pacific,Angels in America. His film and TV highlights include A Sunburnt Christmas, Stateless, Dance Academy, Holding the Man, Gettin' Square (AFI nomination), The Bank, Strange Fits of Passion (AFI nomination),
Themen u.a.: Architekturbiennale in Venedig; Zum Tod von Schriftsteller Martin Amis; Aktion der Letzten Generation im Museum Ludwig Köln; Service Bühne: "Der aufhaltsame Aufstieg des Arturo Ui" in Bonn und Wagners Oper "Siegfried" in Dortmund; Moderation: Claudia Dichter Von Claudia Dichter.
Wir haben uns Bertolt Brechts Parabel "Der aufhaltsame Aufstieg des Arturo Ui" vorgenommen und sind überraschend geteilter Meinung.
Elizabeth A. Davis is currently gracing the Broadway stage as Thomas Jefferson in “1776”, where she has the unique opportunity to showcase her actual violin skills at the same time. She talks about what it's like performing eight shows a week while pregnant, and the financial and societal expectations that come with it. Elizabeth's love for music started at a very early age, sharing that she started playing an instrument with a butter box with a ruler in it when she was three years old. She reflects on how music was an important part of her family's life, and why she played not because she had an inkling it would be her trajectory but for the discipline of it. Playing as Thomas Jefferson, she shares that the pieces that she's playing on stage were pieces that Jefferson himself played, how she auditioned and how they were particular about casting actors who can play instruments very well, and why she considers "1776" a true musical theatre. She admits that singing on stage still terrifies her, and while she thought she wasn't a good enough violinist or a vocalist to major in them, she knew that she was a storyteller and got her degrees in classical theatre performance instead. As a storyteller, Elizabeth reflects on why the act of acting is a total defiance of death, why she aims to live her life as a thank you, and why failure is your friend and something that is not to be feared. Elizabeth A. Davis is a multi-talented, multi-hyphenate actress who received a Tony Award nomination for originating the role of Reza in the Broadway production of "Once". She has over 30 Off-Broadway credits, including "The Resistible Rise of Arturo Ui", "Women on Fire: Stories from the Frontlines", "Zorba", "Rain", "Allegro", "The Caucasian Chalk Circle", and "The 39 Steps". She's appeared in several TV shows such as "Fringe", "Blue Bloods", “The Jim Gaffigan Show”, and "Law & Order: Special Victims Unit". She has also written original musicals and short plays, and sung on Ben Platt's album, "Sing to Me Instead". Elizabeth is playing Thomas Jefferson in Broadway's "1776", where she sings and plays the violin on stage. Connect with Elizabeth: Website: www.elizabethadavis.com Instagram: @elizabetadavis Twitter: @ElizabetADavis Facebook: @officialelizabethadavis Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices
Jack Webster figures prominently in the history of Musical Theatre in Australia. His cheeky charm and undoubted ability as a song & dance man have endeared him to audiences over several decades, in an impressive list of celebrated productions. Each has demonstrated an artist possessed of seductive powers and an innate sense of theatre. Any wonder he is considered one of our first triple-threat performers. Jack was born in Yorkshire, England. He has danced in many British television shows with such people as Tom Jones, Cilla Black and Cliff Richard. He has danced all over Europe and appeared in television specials for Eurovision in Berlin and Amsterdam. Jack has worked with Jack Benny and Val Doonican at the London Palladium. His West End stage experience extends to the musicals Mr & Mrs and Promises, Promises; in which he shared the stage with Betty Buckley and Donna McKechnie. Jack can also be seen in the in the film versions of Oliver! (an Oscar winner for Best Film) and Scrooge. In 1970 he came to Australia and appeared with Jill Perryman and Johnny Lockwood in When We Are Married and with Toni Lamond in Anything Goes. Joining J.C. Williamson's he was in the cast of No, No, Nanette and Irene. Jack has danced with Ronne Arnold's Dance Company and worked with Carol Channing during her Australian visit in 1972. Jack achieved considerable success with the role of Tulsa in the original Australian production of Gypsy. A role he owes to JC Williamson's Matriarch, Betty Pounder who recognised and nurtured a talent in Jack to embrace the spotlight. Jack forged forth completing a grand list of character roles in A Chorus Line, Chicago, Annie, Dames at Sea, The Pirates of Penzance, Jolson, Funny Girl, Follies, Mary Poppins - and a show that would take him back to the West End - Hot Shoe Shuffle. Other stage credits include; The Resistible Rise of Arturo Ui, Run For Your Wife, Black Comedy, When We Are Married, Oh Coward! and Stepping Out. In 2003 Jack was honoured to be a guest artist with the Sydney Dance Co. in Graham Murphy's Tivoli. Jack is a well established choreographer and his credits include The Venetian Twins, Nunsense, Annie and Jesus Christ Superstar. It is an impressive career that Jack has navigated with style and class. He is respected, reliable and always brilliant! The STAGES podcast is available to access and subscribe from Spotify, Apple podcasts and from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au
Jack Webster figures prominently in the history of Musical Theatre in Australia. His cheeky charm and undoubted ability as a song & dance man have endeared him to audiences over several decades, in an impressive list of celebrated productions. Each has demonstrated an artist possessed of seductive powers and an innate sense of theatre. Any wonder he is considered one of our first triple-threat performers. Jack was born in Yorkshire, England. He has danced in many British television shows with such people as Tom Jones, Cilla Black and Cliff Richard. He has danced all over Europe and appeared in television specials for Eurovision in Berlin and Amsterdam. Jack has worked with Jack Benny and Val Doonican at the London Palladium. His West End stage experience extends to the musicals Mr & Mrs and Promises, Promises; in which he shared the stage with Betty Buckley and Donna McKechnie. Jack can also be seen in the in the film versions of Oliver! (an Oscar winner for Best Film) and Scrooge. In 1970 he came to Australia and appeared with Jill Perryman and Johnny Lockwood in When We Are Married and with Toni Lamond in Anything Goes. Joining J.C. Williamson's he was in the cast of No, No, Nanette and Irene. Jack has danced with Ronne Arnold's Dance Company and worked with Carol Channing during her Australian visit in 1972. Jack achieved considerable success with the role of Tulsa in the original Australian production of Gypsy. A role he owes to JC Williamson's Matriarch, Betty Pounder who recognised and nurtured a talent in Jack to embrace the spotlight. Jack forged forth completing a grand list of character roles in A Chorus Line, Chicago, Annie, Dames at Sea, The Pirates of Penzance, Jolson, Funny Girl, Follies, Mary Poppins - and a show that would take him back to the West End - Hot Shoe Shuffle. Other stage credits include; The Resistible Rise of Arturo Ui, Run For Your Wife, Black Comedy, When We Are Married, Oh Coward! and Stepping Out. In 2003 Jack was honoured to be a guest artist with the Sydney Dance Co. in Graham Murphy's Tivoli. Jack is a well established choreographer and his credits include The Venetian Twins, Nunsense, Annie and Jesus Christ Superstar. It is an impressive career that Jack has navigated with style and class. He is respected, reliable and always brilliant! The STAGES podcast is available to access and subscribe from Spotify, Apple podcasts and from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au
Martin Wuttke ist eine Bühnenlegende, als Arturo Ui schrieb er Theatergeschichte. Ab Juni mimt er Goethe in einem Stück zur Geschichte der deutschen Literatur. Nah fühle er sich dem Dichter nicht, so Wuttke: Der sei "doch eher ein unangenehmer Typ".Martin Wuttke im Gespräch mit André Mumotwww.deutschlandfunkkultur.de, Rang 1Direkter Link zur Audiodatei
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Bertolt Brecht, orig. Eugen Berthold Friedrich Brecht, (born Feb. 10, 1898, Augsburg, Ger.—died Aug. 14, 1956, East Berlin, E.Ger.), was a German playwright and poet. He studied medicine at Munich (1917–21) before writing his first plays, including Baal (1922). Other plays followed, including A Man's a Man (1926), as well as a considerable body of poetry. With the composer Kurt Weill he wrote the satirical musicals The Threepenny Opera (1928; film, 1931), which gained him a wide audience, and The Rise and Fall of the City of Mahagonny (1930). In these years he became a Marxist and developed his theory of epic theatre. With the rise of the Nazis he went into exile, first in Scandinavia (1933–41), then in the U.S., where he wrote his major essays and the plays Mother Courage and Her Children (1941), The Life of Galileo (1943), The Good Woman of Sichuan (1943), and The Caucasian Chalk Circle (1948). Harassed for his politics, in 1949 he returned to East Germany, where he established the Berliner Ensemble theatre troupe and staged his own plays, including The Resistible Rise of Arturo Ui (1957). He outlined his theory of drama in A Little Organum for the Theatre (1949).From https://www.britannica.com/summary/Bertolt-Brecht. For more information about Bertolt Brecht:Previously on The Quarantine Tapes:George Prochnik about Brecht, at 18:25: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-162-george-prochnikKwame Dawes about Brecht, at 14:55: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-037-kwame-dawes“Bertolt Brecht”: https://www.poetryfoundation.org/poets/bertolt-brecht“Singing About the Dark Times: The Poetry of Bertolt Brecht”: http://www.theliberal.co.uk/issue_9/poetry/hofmann_9.html“Bertolt Brecht in Dark Times”: https://tribunemag.co.uk/2020/06/red-library-brecht
Marg joins Regina to talk through a life as a theatre designer and in particular The Picture of Dorian Gray. Marg has an extensive list of design credits spanning theatres across Australia. For STC, Marg has designed for The Picture of Dorian Gray, Avalanche (with Barbican Theatre), How to Rule the World and The Histrionic (with Malthouse). As Costume Designer she also worked on STC productions of Lord of the Flies and The Resistible Rise of Arturo Ui. She has worked on a wide range of productions for Malthouse including Because the Night (interiors), Blasted, Melancholia, Bliss, Caravan, The Testament of Mary, The Real and Imagined History of The Elephant Man, Revolt She Said Revolt Again, The Homosexuals Or ‘Faggots' (with Griffin Theatre Company), Edward II, I Am A Miracle and The Good Person Of Szechuan. Marg has also designed for many other leading theatre and opera companies including English National Opera, Opera Queensland, Victorian Opera, Melbourne Theatre Company, Bell Shakespeare, Belvoir and Griffin Theatre Company. She has also worked with Circa, Performing Lines, Dee and Cornelius, Angus Cerini Doubletap and Chunky Move. Marg has won seven Green Room Awards and two Sydney Theatre Awards including one for The Picture of Dorian Gray (2021).
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Bertolt Brecht, orig. Eugen Berthold Friedrich Brecht, (born Feb. 10, 1898, Augsburg, Ger.—died Aug. 14, 1956, East Berlin, E.Ger.), was a German playwright and poet. He studied medicine at Munich (1917–21) before writing his first plays, including Baal (1922). Other plays followed, including A Man's a Man (1926), as well as a considerable body of poetry. With the composer Kurt Weill he wrote the satirical musicals The Threepenny Opera (1928; film, 1931), which gained him a wide audience, and The Rise and Fall of the City of Mahagonny (1930). In these years he became a Marxist and developed his theory of epic theatre. With the rise of the Nazis he went into exile, first in Scandinavia (1933–41), then in the U.S., where he wrote his major essays and the plays Mother Courage and Her Children (1941), The Life of Galileo (1943), The Good Woman of Sichuan (1943), and The Caucasian Chalk Circle (1948). Harassed for his politics, in 1949 he returned to East Germany, where he established the Berliner Ensemble theatre troupe and staged his own plays, including The Resistible Rise of Arturo Ui (1957). He outlined his theory of drama in A Little Organum for the Theatre (1949).From https://www.britannica.com/summary/Bertolt-Brecht. For more information about Bertolt Brecht:Previously on The Quarantine Tapes:George Prochnik about Brecht, at 18:25: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-162-george-prochnikKwame Dawes about Brecht, at 14:55: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-037-kwame-dawes“Bertolt Brecht”: https://www.poetryfoundation.org/poets/bertolt-brecht“The Poet of Ill Tidings”: https://www.thenation.com/article/archive/the-poet-of-ill-tidings/“Brecht Was a Revolutionary”: https://jacobinmag.com/2019/04/bertolt-brecht-marxist-culture-politics-estrangement
Nick Schlieper has designed lighting for all of the major performing companies in Australia and works regularly in Europe and the U.S.Recent engagements include Nick's debut at, and return to, the prestigious Salzburg Festival, designing the lighting for Aribert Reiman's Lear in the Felsen Reitschule, and for Cherubini's Medeé; as well as Mosquitos, Cat on a Hot Tin Roof, The Real Thing, Still Point Turning, Harp in the South, A Cheery Soul, The Resistable Rise of Arturo UI, Chimerica, Three Sisters, All My Sons, Speed the Plow, A Flea in Her Ear and Switzerland for Sydney Theatre Company; Macbeth, Twelfth Night and Photograph 51 (also set design) for Melbourne Theatre Company; Packer and Sons, Ghosts and Twelfth Nightfor Company B Belvoir.Nick also returned to the National Theatre of Norway for Private Confessions, directed by Liv Ullman, and to New Zealand Opera for The Elixir of Love. He also lit Sydney Theatre Company's revival of The Present with Cate Blanchett on Broadway, and The Space Between the Notes (Emma Matthews' one woman show).Nick's work in Music Theatre includes First Wives Club The Musical at the Oriental Theatre, Chicago, Priscilla Queen of the Desert, The Musical in Australia, New York, Toronto, London, Sao Paolo and throughout Europe; Love Never Dies in Hamburg, Tokyo, Sydney and Melbourne for The Really Useful Company.His extensive work in opera in Australia includes Don Giovanni, Nabucco, Tannhäuser, Il Trovatore, L'elisir d'amore, Andrea Chenier, Freischütz, Falstaff and Seraglio for Opera Australia; Salome (and set design) and Parsifal for State Opera of South Australia; Flying Dutchman, Don Giovanni, and Ken Russell's Madam Butterfly for Victorian State Opera; Macbeth (and set design) for Opera New Zealand and Don Giovanni (and set design) for Opera Queensland. He was also lighting and associate set designer of the first Australian production of Wagner's Ring Cycle in Adelaide in 2004.Nick has also designed lighting for Scheherazade for the Australian Ballet, the acclaimed Cinderella for Royal New Zealand Ballet, and several pieces for Bangarra Dance Company, including Bush, Bennelong and Patyegarang.The year commences for Nick with lighting designs for productions of Wudjang: Not the Past (Bangarra Dance), North By Northwest (Kay & McLean Productions) and The Phantom of the Opera (Opera Australia) on Sydney Harbour. With such a full schedule it was a treat for STAGES to examine the art of Lighting Design with one of the country's most prolific and eloquent artists; Nick Schlieper.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au
Este fin de semana la 21° Muestra Nacional de Teatro del Movimiento Antorchista Nacional, en la invitación dela responsable nacional de teatro en la organización, Vania Mejía, directora de la Compañía Nacional de Teatro Víctor Puebla, quien dirige la puesta en escena "La evitable ascensión de Arturo Ui", de Bertolt Brecht y Miguel Angel Jácome, actor de la Compañía
En este programa entrevistamos a Víctor Palmero, uno de los maestros de ceremonias en THE HOLE X y a César Barló que dirige "Conoces a Arturo UI" en la Sala Mirador. Además charlamos con la diosa Cibeles, la actriz Raquel Sáiz en "De Dioses y Santos" en El Corral de Lope y con Nacho Zorrilla, uno de los actores de "Hombre desnudo" en Nueve Norte. Y también os adelantamos novedades del Festival de Otoño con su director Alberto Conejero.
A SIN CAFÉ COMO EXCUSA ha venido Pablo Razuk director de Los 7 franceses en el Teatro Lara. Además nos acompaña César Barló autor y director de Conocer a Arturo Ui en la Sala Mirador. ENTRE EL FOSO Y EL TELÓN recomendamos A Chorus Line en el Teatro Calderón y en DRAMEDIA Martirio en Nave 73, Privacidad en el Teatro Marquina y en la Sala Nueve Norte, El amor es una mierda. Entramos en EL CAMERINO del Teatro Quique San Francisco para disfrutar de Puños de Harina y LA APUNTADORA recomienda Quiero ser santa en el Teatro del Barrio. En EL COMODÍN DE LA CLAQUETA analizamos Spencer de Pablo Larraín y en HISTORIARTE recorremos el hallazgo del hueso de vaca que pondrá de vuelta y media a la historia europea. Cerramos en LA DESPENSA DEL TIEMPO con Grabado de Andrea Palladio por Francesco II Zuchi y en VERSIONANDO QUE ES GERUNDIO….Beer Barrel Polka. ¡TE ESPERAMOS!
Katharina Thalbach ist die Tochter der Schauspielerin Sabine Thalbach und des Regisseurs Benno Besson. Mit 13 Jahren wurde sie Meisterschülerin von Helene Weigel. Neben vielen Theaterengagements tritt sie regelmäßig in Kino- und Fernsehfilmen auf. Anfang der 1990er-Jahre war sie Mitglied des Schauspielensembles am Schiller Theater, wo sie mit „Macbeth“ als Regisseurin in der Werkstatt debütierte. Unzählige Inszenierungen – auch für die Oper – folgten, auch im Ausland, zuletzt 2018, wo sie an der Comédie Française mit „Arturo Ui“ einen großen Erfolg hatte. Katharina Thalbach wurde vielfach ausgezeichnet. 1980 wählte sie das Fachmagazin „Theater heute“ zur Schauspielerin des Jahres. 1987 erhielt sie für ihre Rolle in Doris Dörries Kinofilm „Paradies“ den Deutschen Filmpreis als beste Darstellerin, 1991 den Konrad-Wolf-Preis der Akademie der Künste Berlin; 1997 wurde sie mit dem Adolf-Grimme-Preis für den Fernsehfilm „Gefährliche Freundin“ ausgezeichnet. Weitere Ehrungen sind der Bayerische Filmpreis 2006 für „Strajk“ sowie der Verdienstorden des Landes Berlin. Katharina Thalbach ist zweifache Trägerin des Bundesverdienstkreuzes und Mitglied der Freien Akademie der Künste Hamburg und der Akademie der Künste Berlin. Für „Hanni & Nanni 2“ wurde sie 2012 mit dem „Goldenen Spatz“ als beste Schauspielerin ausgezeichnet. 2014 erhielt Katharina Thalbach den Sonderpreis des Deutschen Hörbuchpreises für ihr Lebenswerk. 2019 wurde sie wegen ihrer Verdienste um die französische Kultur mit dem Orden „Officier des Arts et Lettres“ geehrt. Im Januar dieses Jahres erhielt sie den Ernst-Lubitsch-Preis für ihre Rolle in „Ich war noch niemals in New York“.
George Kapiniaris is one of Australia's best loved comedy, music and TV stars - having had an incredible impact on Australian popular culture over the last thirty five years. His claim to fame was his starring role in the hugely popular stage show 'Wogs Out Of Work'. Since then, the Australian public has continued to see him use his Greek heritage as inspiration for future roles and performances. George developed his popular style of ethnic comedy at Rusden College in 1985. Straight away he was labelled as a pioneer of Ethnic Humour in Australia. We all loved him as DJ in 'The Flying Doctors' and who could forget his starring role as the manic waiter Memo in TV's 'Acropolis Now' from 1989 to 1992 (a show which he co-produced & co-created). Since 1992 George has also been the front man of his 70's cover band 'The Flares'. In 2004 George was nominated for a Green Room Award for his role of Stretch in the musical 'Oh, What a Night'. other musical credits include 'The Rocky Horror Show' and 'Return to the Forbidden Planet'. His theatre credits include 'The Resistable Rise of Arturo Ui' for the MTC, 'The Queen and I ', 'An Evening with Merv Hughes' and Guy Masterson's production of '12 Angry Men'. George's film credits include 'Alex and Eve', 'Big Mammas Boy', 'Thundersruck', 'Bloody Footy', 'Fat Pizza', 'Housos The Movie', 'Closer and Closer Apart' & 'Joey' - George also appeared on the TV series 'Its A Date!'. Kapiniaris was also seen in the controversial mini series 'Underbelly', playing George Defteros - the lawyer to Melbourne's underworld. In 2009 George appeared as a regular panelist on the very popular SBS show "The Squiz". In 2021 George will be touring OZ with his comedy stage show, 'Crazy Rich Ethnics'. He and his Co Stars have received two ACE awards for Best Comedy for their 'Il Dago' Shows and this year he and his team were nominated for Best Comedy for their 'Wildwogs' Production. George has recently played a Vulgarian Spy in The Australian production of 'Chitty Chitty Bang Bang The Musical' and starred last year in The Production Company's Award Winning Show 'Nice Work If You Can Get It!' where he stole the show with amazing reviews. Download the Connecting Greeks app: https://connectinggreeks.com/app.html
Lets goooo Episode 2 Season 2! This week we are bringing you a chat with the incredible Brent Hill (Hamilton, School of Rock) and Meghan O'Shea (Singin' In The Rain, Grease). At the end of 2020 we were lucky enough to work with Brent and Meghan as Director and Choreographer for Merrily We Roll Along at WAAPA. Throughout the process we had extensive discussions on self-care and mental health as a performer, and Brent and Meghan consistently shared with us how important it is to shape an industry where the performers wellbeing is as important as the show itself. Chatting with each other we knew we wanted to bring these discussions to the podcast, so we were so keen to catch up with Brent and Meg as they further shared on this episode their experiences with burnout, boundaries as a performer, and ways of finding your own joy and creativity through long running shows. A little bit about these creatives: Brent Hill has recently been cast as King George III in Hamilton Australia, playing at the Lyric Theatre in 2021. Prior to this, he originated the role of Dewey Finn in the Australian touring cast of School of Rock. Brent has had extensive training in theatre and has been awarded numerous Green Room and Helpmann Awards for his roles in Rock of Ages, Little Shop of Horrors and School of Rock. Some of Brent's other theatre and film credits include: The Resistible Rise of Arturo Ui, Chimerica (STC), An Ideal Husband, Vivid White, The Speechmaker (MTC), Mr. Burns: a Post-Electric Play (Belvoir), Seymour/Audrey II in Little Shop of Horrors (Luckiest Productions & Tinderbox Productions), Once – Seoul tour (Once UK), Leo Bloom in The Producers (The Production Company), Twelfth Night (Bell Shakespeare Company), Rock of Ages (Rock of Ages Australia),Donnatelegrams (ABC), Laid (ABC)and It's a Date (ABC). Meghan O'Shea is an Australian actor and Musical Theatre performer. In 2009 Meghan graduated from Western Australian Academy of Performing Arts (WAAPA) with a Bachelor of Arts in Musical Theatre and later graduated from the Film and Television Studio International. Most recently, Meghan graduated from QUT Business School with a graduate certificate in Marketing and Communications. As a musical theatre performer, Meghan has appeared in the Australian tours of Singin' in the Rain, The Rocky Horror Show, A Chorus Line, and most recently as Sandy in Grease. Meghan has also worked in marketing for Crown Resorts in Melbourne, and following this was the Marketing Manager for the award winning play I Am My Own Wife. Additionally, Meghan has worked for the global media agency, OMD. Inspired by these experiences Meghan founded her own company 'Social Butterfly Digital Marketing'. If you would like to find out more about these creatives, you can follow them on instagram @brenthill and @meghan_oshea_ We'd love to hear your thoughts from this episode on our instagram @companypod, or Facebook Company Podcast. Hosted and Created by Giorgia Kennedy and Tiana Catalano Edited and Produced by David Duketis Music by David Duketis Graphic Design by David Duketis
durée : 00:28:49 - Personnages en personne - par : Charles Dantzig - Qui est Arturo Ui, tyran imaginé par Bertolt Brecht en 1934? Cet immortel personnage de théâtre incarne la brutalité, l'intimidation et le cynisme. Aussi dissimulateur que violent, il se comporte comme un mafieux, proposant sa protection à des gens qui ne la demandent pas. - réalisation : Clotilde Pivin - invités : Armelle Héliot Critique de Théâtre
durée : 00:28:49 - Personnages en personne - par : Charles Dantzig - Qui est Arturo Ui, tyran imaginé par Bertolt Brecht en 1934? Cet immortel personnage de théâtre incarne la brutalité, l'intimidation et le cynisme. Aussi dissimulateur que violent, il se comporte comme un mafieux, proposant sa protection à des gens qui ne la demandent pas. - réalisation : Clotilde Pivin - invités : Armelle Héliot Critique de Théâtre
Tek Perde'nin son bölümünde @Cigdemozenc ve @ozak_durmus, unutamadıkları tiyatro anılarını paylaştı ve en beğendikleri 10 oyunun sıralamasını yaptı. Keyifli dinlemeler :) Özak: 1-Profesyonel 2-Hayal-i Temsil 3-Balat Monologlar Müzesi 4-Cimri 5-Eylül 6-Arturo Ui’nin Önlenemez Tırmanışı 7-Dünyada Karşılaşmış Gibi 8-Siyahlı Kadın 9-Bir Delinin Hatıra Defteri 10-Güneşin Sofrasında/Yaşamaya Dair Çiğdem'in listesi: 1-Profesyonel 2- Sevgili Arsız Ölüm Dirmit 3-Eylül 4-Bir Delinin Hatıra Defteri 5-Fotoğraf 51 6-39 Basamak 7-Dünyada Karşılaşmış Gibi 8-Zengin Mutfağı 9- Kibritçi Kız 10-Pollyanna
In this fourth episode of The Acting for Stage and Screen Podcast, James chats with the Head of New Work at the celebrated Donmar Warehouse Theatre in London; Clare Slater. Prior to joining The Donmar, Clare worked as the Assistant Literary manager at The National Theatre and then as the Executive Director of The Gate Theatre in Notting Hill. They discuss Clare's involvement with productions such as a recent new version of Brecht's 'The Resistible Rise of Arturo Ui', adapted by the Pulitzer prize winner Bruce Norris, her role in the development of Alice Birch's extraordinary play [Blank], and of the multiple award winning 'Grounded' by George Brant. Clare tells us about her experiences running a theatre and we learn all about the concept of dramaturgy.
Autor: Papatheodorou, Ilia Sendung: Rang I Hören bis: 19.01.2038 04:14
The second episode of Seven Stages featuring multi-award winning lighting designer Paule Constable What was the first show you ever saw? Your biggest theatre regret? And which production would you choose to watch on a loop for eternity? These questions and more make up Seven Stages, the new podcast from The Stage, sponsored by Audible. In 2005 Paule Constable was the first woman to win an Olivier Award for lighting design. She has since won three more Oliviers, along with two Tonys and three ABTT Knight of Illumination awards. In her exclusive Seven Stages interview, she reminisces about how she first stumbled across lighting design. She tells host Tim Bano how she got her first lighting job when a follow spot operator friend fell madly in love and ran away to Spain. She took the friend's job at the Hackney Empire, caught the lighting bug and worked with the company on club events during the acid-house rave scene. Constable shared her lighting debut with actors David Tennant and Ashley Jensen, in their performance debuts, in The Resistible Rise of Arturo Ui with 7:84 Theatre Company in Scotland. She has since gone on to light some of the most iconic shows in theatre including Warhorse, The Curious Incident of the Dog in the Night-Time and Les Misérables. Listen below to hear the full interview. Every fortnight, you can join Tim Bano for illuminating, intimate conversations with influential performers and creatives who have lived their lives in theatre. Seven Stages podcast, sponsored by Audible, is available anywhere you find your podcasts including Apple Podcasts, Spotify and the link below. Paule Constable's interview follows legendary actor Ian McKellen.
“ Me gustaría ser sabio también. Los viejos libros explican la sabiduría: apartarse de las luchas del mundo y transcurrir sin inquietudes nuestro breve tiempo. Librarse de la violencia. Dar bien por mal, no satisfacer los deseos y hasta olvidarlos: Tal es la sabiduría. Pero yo no puedo hacer nada de esto; verdaderamente, vivo en tiempos sombríos”. ( A los tiempos futuros, 1.938) El futuro rebelde Bertolt Brecht nace el 10 de Febrero de 1.898 en Augsburgo, una ciudad provinciana de Baviera, en el seno de una familia acomodada. Aunque el sur de Alemania es predominantemente católico, cursa la educación primaria en una escuela protestante. En 1.917 tiene que acabar el bachillerato de forma provisional, ya que la primera guerra mundial, en su penúltimo año, marcaba drásticamente el orden del día. En Múnich se matrícula para estudiar Medicina, no muy convencido, pero al año siguiente lo llaman a filas como auxiliar sanitario en un hospital militar. Si bien Brecht participaba del entusiasmo patriótico por la guerra con poemas de alabanza al emperador, ahora, con la experiencia de los mutilados de guerra, compone en 1.919 una balada que enseguida llamaría la atención de jueces y fiscales por un acto considerado de alta traición, la provocadora y satírica “Leyenda del soldado muerto”, donde una comisión médica militar desentierra con una pala bendecida a un soldado, medio podrido ya, para declararle de nuevo apto para el servicio y reenviarlo al frente como carne de cañón. Tal fue el impacto de estos versos que, en 1.923, el emergente partido nacionalsocialista colocaría este texto y a su joven autor entre los más odiados de su “Lista negra” y posteriormente serviría al gobierno de Hitler, en 1.933, como justificación para retirarle la ciudadanía alemana. Con los años veinte Bertolt Brecht empieza su andadura por las ciudades de Alemania. Primero vive en Munich, donde en 1.922, estrena “Tambores en la noche”, que se convierte en una de las obras más representadas en la República de Weimar, y por la cual le sería concedido el prestigioso premio Kleist. También le atrae la efervescente ciudad de Berlín donde reside en 1.924; esta era, junto a Moscú y Nueva York, la capital de las vanguardias artísticas y el escenario del empobrecimiento de las masas debido al paro y a la galopante inflación producto de un capitalismo descontrolado. En la capital despliega su talento creador en todos los géneros literarios. Trabaja tanto en la radio como en el cine, publica revistas literarias, y compone canciones propagandísticas para el Frente Unitario de los Trabajadores. Culmina esa etapa berlinesa con el éxito avasallador de su “Ópera de cuatro cuartos", estrenada en 1.928, con música del genial Kurt Weill. Dicha etapa finaliza bruscamente poco después con el hundimiento de todo el país en el Tercer Reich. El 28 de Febrero de 1.933, el día después del incendio del Reichstag, Bertolt Brecht y los suyos emprenden el camino del exilio a través de Praga, Viena, Zúrich, París, Dinamarca, Suecia, Finlandia y Moscú para llegar en 1.941, finalmente, a Estados Unidos. Dejando a un lado su colaboración con Fritz Lang, como guionista, no consigue vender su talento a las productoras de Hollywood, mientras que en la neutral Suiza se estrenan sus grandes obras teatrales como “Madre coraje” o “La vida de Galilei”. En 1.947 recibe una invitación para declarar ante en Comité de Actividades Antiamericanas. A la pregunta sobre si había escrito obras revolucionarias responde, astutamente, que sí porque su intención revolucionaria era derrocar al gobierno de Adolf Hitler exactamente igual que habían hecho los soldados norteamericanos. Ese mismo año regresa Brecht a Europa, y después de haber conseguido la nacionalidad austríaca en 1.950, acaba instalándose en Berlín Este, la capital de la República Democrática Alemana. Sus últimos años los dedicó casi por completo a la puesta en práctica de su concepción del teatro épico realizando las funciones de director del Berliner Ensemble fundado por él y su esposa, Helene Weigel, y llevando a escena sus propias obras y las adaptaciones de otros autores dramáticos. En 1.955, un año antes de su muerte, no duda en aceptar el Premio Stalin de la Paz, en Moscú, pese a que su convivencia con el régimen comunista no había estado exenta de conflictos, como se ve con toda claridad en su reacción a la revuelta de los obreros berlineses del 17 de Junio de 1.953, con el poema, evidentemente impublicable “La solución”: “Tras el alzamiento del 17 de Junio – el secretario de la Unión de escritores – mandó repartir panfletos en la Avenida Stalin – en los que se leía que el pueblo – había perdido la confianza del gobierno – y que sólo redoblando el trabajo – podría reconquistarla. - ¿Pero no sería más simple – que el gobierno disolviera al pueblo – y eligiera otro?”. Resulta difícil encajar a Brecht en las corrientes literarias de su época. El creó su propio estilo transformando la fisonomía poética y teatral de Europa: un tono nuevo, una nueva melodía, una nueva manera de ver. Su gran oponente, Thomas Mann, reconoció inmediatamente la valía del autor bávaro señalando que la diferencia entre su generación y la suya era mínima. Pero Brecht, el rebelde antiburgués, no estaba de acuerdo en absoluto con esa afirmación y respondió con un ataque frontal a la comparación de Mann: “ En una disputa eventual entre un carruaje y un automóvil, sería el carruaje, evidentemente, quién consideraría mínima esa diferencia”. Toda la fuerza innovadora de Bertolt Brecht se pone de manifiesto en “La ópera de cuatro cuartos”. Brecht y Weill consiguen un montaje de estilos que combina en una comedia picaresca tanto formas triviales como cultas, música jazz y tango, cabaret y música de baile, ópera y habaneras, entretenimiento puro y crítica social. Esta obra no ha perdido ni un ápice de su viveza y ha sido interpretada desde sus comienzos por cantantes tan dispares como Louis Armstrong, Ella Fitzgerald, Frank Sinatra o Sting. La paradoja de esta ópera antiburguesa consiste precisamente en el éxito que obtuvo entre el propio público burgués al que Brecht pretendía censurar. A pesar de su ideología Brecht no siente ningún rubor por su éxito y aplica todos los trucos de la mercadotecnia para vender su obra y sacar provecho de su interpretación en todos los formatos artísticos. Declara: “mi nombre es una marca. Y quién use esa marca, que pague”. Ya en su madurez, entre los años 1.938 y 1.948 - es decir, hasta su regreso del exilio - realiza sus últimas grandes producciones dramáticas, que inaugura con la obra en la que mejor se refleja su condición de exiliado y de oponente al poder: “La vida de Galilei” escrita en 1.938 y estrenada en 1.943 en Zúrich. Otras obras destacables y relacionadas con la guerra y la corrupción moral que conlleva son “Madre Coraje” (1.939); “La buena persona de Sezuan” (1.940); “La irresistible ascensión de Arturo Ui” (1.941); “Schwejk en la segunda guerra mundial” (1.944) y, finalmente, “El círculo de tiza caucasiano” de 1.945. En los últimos años de su vida Bertolt Brecht se dedica casi por completo a poner en práctica su concepción teatral sin dejar de trabajar en ningún momento en la lírica. Compone el último ciclo de poemas cuyo título alude al lugar de su retiro en el campo prusiano: “Las elegías de Buckow” que, con formas sucintas recuerdan al haiku japonés y que, ciertamente vuelven a poner de manifiesto el desacuerdo del ya agotado rebelde con el régimen del socialismo real, pero que también expresan de manera certera su condición humana como por ejemplo el poema titulado “El humo”: “La casita entre árboles junto el lago / del tejado un hilo de humo. / si faltase / qué desolación / casa, árboles y lago”. Al bajar el telón de su teatro del Berliner Ensemble, los espectadores podían ver el dibujo de la famosa paloma de Pablo Picasso que Bertolt Brecht denominaba “ la combativa paloma de la paz de mi hermano Picasso”. Incansables renovadores del arte, los dos nunca dejaron de producir. Su gran capacidad para la autoironía se expresa bien en este diálogo del relato “ El esfuerzo de los mejores”: “ ¿ En qué trabaja usted ? - le preguntaron al señor Keuner, y él respondió: hago grandes esfuerzos preparando mi próximo error”
Hugo Weaving, Bolude Watson, Ben Lawrence, Andrew Luri and Face2Face host David Peck talk about their new film, Hearts and Bones, PTSD, relationships and hope, the power of community, the image and why finding our way home matters. Trailer Synopsis: War photographer, Daniel Fisher has returned home to the news of his partner’s pregnancy. Determined not let fatherhood alter his way of life, he begins preparations for an upcoming exhibition and his next overseas assignment. However, as the birth of his child draws near he struggles to keep his rising anxiety hidden. Meanwhile, South Sudanese refugee, Sebastian Aman has created a safe life in Australia with his wife and child. His peaceful life is disturbed when Dan’s exhibition threatens to display photographs of a massacre that occurred in Sebastian’s home village, 15 years earlier. When Sebastian approaches Dan with an appeal to not display any images of the massacre, an unlikely friendship develops between the men. Bonded by their shared trauma, Sebastian introduces Dan to members of a community choir. These survivors of war offer Dan an escape from the anxieties of imminent fatherhood, much to the frustration of his wife. When Sebastian uncovers among Dan’s photographic archive an image of his daughter, thought to have died in war, the men set about finding her. Amid the search for the young girl, Dan unearths disturbing details surrounding Sebastian’s past and the startling revelations threaten to destroy both families. Amid the pain, each man must face their painful past in order to regain their salvation. Hearts and Bones - a story about hope and the mysterious bonds of family, friendship and fatherhood. About our Guests: Ben Lawrence is an internationally award-winning director and photographer. His short films have screened at Edinburgh, Clermont-Ferrand, Los Angeles, San Gio and Sao Paulo film festivals. His photographs have been recognized at the International Photography Awards in New York, The Australian National Photographic Gallery Portrait Prize, the HeadOn Portrait Festival and The Spider Awards for photojournalism in London. In 2018, his critically acclaimed debut feature documentary, Ghosthunter screened at multiple festivals around the world and was nominated for a prestigious Illuminate Award at the Sheffield Film Festival. It also earned an AACTA Award nomination for Best Feature Length Documentary and won the Best Australian Documentary Award at the Sydney Film Festival. Hugo Weaving has enjoyed an enormously varied and successful career in film, theatre and television. He has won numerous awards, including three Australian Film Institute awards for Best Actor in a Leading Role - in Jocelyn Moorhouse's PROOF (1991), THE INTERVIEW (1998) - for which he also won Best Actor at The Montreal World Film Festival, and LITTLE FISH (2005). In 2011, he was an inaugural AACTA award winner for his performance in ORANGES AND SUNSHINE. In 2015 he won his second AACTA award for THE DRESSMAKER. In 2016 he won another for his work in HACKSAW RIDGE, and followed this up in 2017 with another for JASPER JONES. Weaving is also well known for his roles in THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT (1994), as Agent Smith in THE MATRIX trilogy, as Elrond in THE LORD OF THE RINGS and THE HOBBIT trilogies, and as 'V’ in V FOR VENDETTA (2006). Other films include LAST RIDE (2009), CAPTAIN AMERICA (2011), CLOUD ATLAS (2012), MYSTERY ROAD (2013), THE MULE (2014) and STRANGERLAND (2015). Hugo’s recent TV credits include PATRICK MELROSE released in 2018 and Australian series SEVEN TYPES OF AMBIGUITY (2016). His many theatre appearances include Sydney Theatre Company’s ARTURO UI, as well as HEDDA GABLER and UNCLE VANYA (both enjoying successful U.S. tours in 2006 and 2011 respectively, the latter earning him a Helen Hayes Award), MACBETH (2014), ENDGAME (2015) and WAITING FOR GODOT (2013) with a London season in 2015. He has also voiced characters in several highly successful films, including BABE, HAPPY FEET and TRANSFORMERS. Andrew Luri was born in Juba, which is now the capital of South Sudan. He came to Australia via Cairo Egypt, to Darwin then to Melbourne. He is married and has seven children. Music is his hobby and he is a Church and community leader. Andrew loves comedy and studied at Charles Darwin University, he also studied Counter Terrorism at Swinburne University. He is multi skilled and has had many different jobs over the years. Hearts and Bones is his first film and the culmination of a childhood dream. Bolude Watson is a Nigerian born American raised actress. Moving to Sydney, Australia in 2014 from Los Angeles, has proven to flourish her career, staring in Ché Baker’s SciFi film ‘Blue World Order’ as female lead Marion Connors and most recently she just wrapped the film ‘Hearts and Bones’ directed by Australia’s brilliant director, Ben Lawrence where she played Anishka the wife of a South Sudanese immigrant with a dark secret. Bolude’s television credits include roles in shows such as ‘Deadly Women’ and ‘Your Numbers Up’. Bolude is also co-creator with Michela Carattini of The web series ‘Americans in Oz’ which made its online debut last year. As an African American and with a deep passion for story telling Bolude’s goal is to be part of the movement that creates a space for diverse voices in film and television Image Copyright: Hearts and Bones Films Pty Ltd, Spectrum Films Pty Ltd, Lemac Films (Australia) Pty Ltd, Create NSW and Screen Australia. Used with permission. F2F Music and Image Copyright: David Peck and Face2Face. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.
Gettin' the Gobble on! Arturo Ui, Mike Birbiblia, Lee Israel/Melissa McCarthy. The Amazing History of the Potato. Tips from Terry on Talking. DIY Aston Martin. H. Peter Stern and Storm King Art Center. Stan Lee. Hal. Credits: Talent: Tamsen Granger and Dan Abuhoff Engineer: Ellie Suttmeier Art: Zeke Abuhoff
We hear about Monkey Baa's adaptation of Jackie French's Josephine Wants to Dance, Hugo Weaving and Kip Williams give us the lowdown on the STC production of Brecht's The Resistible Rise of Arturo Ui, we hear a live performance of Genevieve Lacey's new work Nest, and we meet US comedian Joel Kim Booster.
As Yet Unnamed London Theatre Podcast 07-May-2017 With T R P Watson - Gareth James - PaulInLondon - Phil from the West End Whingers - Plays Discussed The Resistible Rise of Arturo Ui - Donmar Warehouse [00:20] The Braille Legacy - Charing Cross Theatre [10:01] Madame Rubenstein - Park Theatre 200 [17:51]
We’re back! Nelson is drinking again! Will starts us off with a playing card metaphor that inexplicably shifts anti-ginger. But, we quickly move on to Will’s Funny Full Circle Things Corner which dedicated listeners will no doubt recognize as Will’s Grumpy Old Man Corner. We do learn a lot about Scottish Skateboarding, though, just in time for Burns Night. We’ve also got a Recommendation Corner, then a Steering our High Horse into a Ditch Corner which dovetails nicely into a Limping to the Finish Corner. Speaking of skateboarding, go see the return engagement of The Resistible Rise of Arturo Ui by Bertolt Brecht! This Friday and Saturday (January 27 & 28) at 7:30 at the Eagles Lodge! Mention Double Deuce Podcast for a free tour of our recording studio after the show! Directed by Will and featuring performances by past guests Kitty Steffens and Jacqueline Grunau! Contact Us! Follow Us! Love Us! Email: doubledeucepod@gmail.com Twitter: @doubledeucepod Facebook: www.facebook.com/DoubleDeucePod/ Also, please subscribe/rate/review/share us! We’re on iTunes, Libsyn, Stitcher & Google Play! Are you in Lawrence, Kansas? Are you thirsty? Looking for a place to hang out? Maybe catch a game or a live show? Or are you looking for somewhere to put on a show? Or record a podcast? Or rent a room? Then check out Frank’s North Star Tavern and the Eagles Lodge Aerie 309! Official bars of the Double Deuce Podcast! Podcast logo art by Jason Keezer! Intro featuring Rob Schulte!
Phil Rouse decides to introduce his production of The Resistible Rise of Arturo Ui with a very peculiar sight: some slides of Elizabethan text hover above our very skilled ensemble as they are all club dancing to ‘Turn Down for What.’ It’s one of those audacious mixes of the highbrow classical and the lowbrow modern that the theatre world can never get enough of. Arturo Ui (played here by George Banders), the fictional Chicagoan crime lord, is of course Bertolt Brecht’s parodic and blatantly allegorical version of Adolf Hitler, rendered comprehensible for an American audience in 1941. Since the play took 22 years to make it to Broadway, it has only ever been performed in front of already well-versed audiences, and never as an introductory education on the history of Nazi Germany. Before they’ve even sat down, this 2016 Australian audience will already hate the infamous dictator just as much as the play’s 1963 American audience would have, but their prior knowledge of Brecht and Epic theatre will be less certain. In this production, Rouse bombards the audience with countless lines of text for the same purpose that Brecht once did: to give the audience all the facts they need to follow the allegory and understand his message, without being “distracted” by the fictional story he is telling. In contemporary theatre making this is known as heavy-handedness, but in the 1920s the idea of using theatre to shamelessly recruit people as political activists was a novel and exciting one. However, even today Rouse gets away with it by embracing this style of alienating the audience from the pathos of the story, and by having his own anti-right wing political agenda to parade around. The text on the screen and a handful of throwaway lines make it abundantly clear that Donald Trump is the politician he is truly taking aim at, with the original Hitler allegory itself becoming an allegory for a much more contemporary issue. There is also another, much more subtle comparison made between the Great Depression and the Global Financial Crisis, which interestingly is pulled off without the assistance of the fact slides. However, there are times when the three story levels, one literal and two allegorical, feel like they are about to crumble in and collapse on one another. It was also a questionable choice in the otherwise sound set design by Martelle Hunt to put the screen so high above the actors. Much of the opening dance sequence and character introductions will likely go unseen by audience members who are reading the opening text, and likewise, many important pieces of text shown throughout the production will go unread since there is rarely anything to direct people’s attention all the way up there. This is why Brecht would project his text at the back of the stage, so that it was always in view. Also, despite all the text, the self-aware jokes and the intentional breaking of character, there is one Brechtian technique that Rouse uses only very sparingly: bright lighting. There is a brief moment where the entire theatre is strongly illuminated and an awkward false curtain call plays out, but, for the most part, Rob Sowinski and Bryn Cullen’s lighting design is surprisingly traditional, putting the audience at a very comfortable distance and ultimately making the viewing experience too passive for this sort of material. Part of the intention of a show like this is to disorientate the audience, to pull them out of the story and keep the focus on the message, but until the very end of the play, the message within the message tends to make the space outside the story just as murky as the story itself. Fortunately though, each time both the narrative and its social significance become unstable, there are always the characters to fall back on. One of Brecht’s greatest inconsistencies was that, despite his frequent postulations on the importance of emotional distance, he had an irrepressible knack for writing vivid and endearing characters. Here we have the ruthless Ernesto Roma (Peter Paltos), Ui’s tough mentor in crime who turned a spineless common thief into a deadly rabble-rouser with the nerve to eventually kill him. In a “parable play” that draws heavily on Shakespeare, and even goes as far as flat-out copying a few scenes from Richard III, Roma, and his real life counterpart Ernst Röhm, are both the Banquo and the Lady Macbeth in Ui and Hitlers’ origin stories. Paltos not only masters his menacing presence, but, with the right makeup on, he also happens to look a lot like Laurence Olivier. Of course, the other standout characterisation here is Ui himself. Banders certainly has the right stuff and isn’t afraid to get up close and personal with the audience while in character. He consciously breaks the fourth wall in a glorious moment of theatrical self-reference and, in one scene, he impressively manages a dexterous run through the audience. Thanks to the talents of Banders, Paltos, Brecht and Rouse, the great anti-hero and his seedy keeper have a life beyond the confines of the allegories, something they probably weren’t supposed to have in theory, but in practice is really what allows this piece to work as a two-hour play. Written by Christian Tsoutsouvas.See omnystudio.com/listener for privacy information.
Phil Rouse decides to introduce his production of The Resistible Rise of Arturo Ui with a very peculiar sight: some slides of Elizabethan text hover above our very skilled ensemble as they are all club dancing to ‘Turn Down for What.’ It’s one of those audacious mixes of the highbrow classical and the lowbrow modern that the theatre world can never get enough of. Arturo Ui (played here by George Banders), the fictional Chicagoan crime lord, is of course Bertolt Brecht’s parodic and blatantly allegorical version of Adolf Hitler, rendered comprehensible for an American audience in 1941. Since the play took 22 years to make it to Broadway, it has only ever been performed in front of already well-versed audiences, and never as an introductory education on the history of Nazi Germany. Before they’ve even sat down, this 2016 Australian audience will already hate the infamous dictator just as much as the play’s 1963 American audience would have, but their prior knowledge of Brecht and Epic theatre will be less certain. In this production, Rouse bombards the audience with countless lines of text for the same purpose that Brecht once did: to give the audience all the facts they need to follow the allegory and understand his message, without being “distracted” by the fictional story he is telling. In contemporary theatre making this is known as heavy-handedness, but in the 1920s the idea of using theatre to shamelessly recruit people as political activists was a novel and exciting one. However, even today Rouse gets away with it by embracing this style of alienating the audience from the pathos of the story, and by having his own anti-right wing political agenda to parade around. The text on the screen and a handful of throwaway lines make it abundantly clear that Donald Trump is the politician he is truly taking aim at, with the original Hitler allegory itself becoming an allegory for a much more contemporary issue. There is also another, much more subtle comparison made between the Great Depression and the Global Financial Crisis, which interestingly is pulled off without the assistance of the fact slides. However, there are times when the three story levels, one literal and two allegorical, feel like they are about to crumble in and collapse on one another. It was also a questionable choice in the otherwise sound set design by Martelle Hunt to put the screen so high above the actors. Much of the opening dance sequence and character introductions will likely go unseen by audience members who are reading the opening text, and likewise, many important pieces of text shown throughout the production will go unread since there is rarely anything to direct people’s attention all the way up there. This is why Brecht would project his text at the back of the stage, so that it was always in view. Also, despite all the text, the self-aware jokes and the intentional breaking of character, there is one Brechtian technique that Rouse uses only very sparingly: bright lighting. There is a brief moment where the entire theatre is strongly illuminated and an awkward false curtain call plays out, but, for the most part, Rob Sowinski and Bryn Cullen’s lighting design is surprisingly traditional, putting the audience at a very comfortable distance and ultimately making the viewing experience too passive for this sort of material. Part of the intention of a show like this is to disorientate the audience, to pull them out of the story and keep the focus on the message, but until the very end of the play, the message within the message tends to make the space outside the story just as murky as the story itself. Fortunately though, each time both the narrative and its social significance become unstable, there are always the characters to fall back on. One of Brecht’s greatest inconsistencies was that, despite his frequent postulations on the importance of emotional distance, he had an irrepressible knack for writing vivid and endearing characters. Here we have the ruthless Ernesto Roma (Peter Paltos), Ui’s tough mentor in crime who turned a spineless common thief into a deadly rabble-rouser with the nerve to eventually kill him. In a “parable play” that draws heavily on Shakespeare, and even goes as far as flat-out copying a few scenes from Richard III, Roma, and his real life counterpart Ernst Röhm, are both the Banquo and the Lady Macbeth in Ui and Hitlers’ origin stories. Paltos not only masters his menacing presence, but, with the right makeup on, he also happens to look a lot like Laurence Olivier. Of course, the other standout characterisation here is Ui himself. Banders certainly has the right stuff and isn’t afraid to get up close and personal with the audience while in character. He consciously breaks the fourth wall in a glorious moment of theatrical self-reference and, in one scene, he impressively manages a dexterous run through the audience. Thanks to the talents of Banders, Paltos, Brecht and Rouse, the great anti-hero and his seedy keeper have a life beyond the confines of the allegories, something they probably weren’t supposed to have in theory, but in practice is really what allows this piece to work as a two-hour play. Written by Christian Tsoutsouvas.
Hosts, Christian and Rachel, are joined by director of Theatre Works' production of The Resistible Rise of Arturo Ui, Phil Rouse. Tickets are available at the Theatre Works website. See omnystudio.com/listener for privacy information.
Hosts, Christian and Rachel, are joined by director of Theatre Works' production of The Resistible Rise of Arturo Ui, Phil Rouse. Tickets are available at the Theatre Works website.
We've got no guest this week, but we're still talking about soup. Will is stalking a prominent downtown business for soup intel like some kind of soup pervert. Also, on the subject of food, Nelson recommends Raising Cane's and we talk about how the comments on recipe sites are worth your time. Go see the Resistable Rise of Arturo Ui by, Bertold Brecht at the Eagles Lodge in Lawrence, KS, this Thursday through Saturday nights, May 19-21. Thursday is half-price tickets. Every night is soup! Much love to super-sponsor Frank Dorsey! He was in an accident recently and is still recuperating in the hospital. You should help him out. Feel free to contact us for info on how! Contact Us! Follow Us! Love Us! Email: doubledeucepod@gmail.com Twitter: @doubledeucepod Facebook: www.facebook.com/DoubleDeucePod/ Also, please subscribe/rate/review on iTunes! Thirsty? Grab a drink at Frank’s North Star Tavern in scenic North Lawrence, Kansas! Official sponsor of Double Deuce Podcast!
It's the return of superfan guest Amber Fraley and fan favorite guest baby Oliver! In Recommendation corner: Will loves Pie Five! In Promotion Corner: Will tries to promote something that’s already happened (Dr. Who nonsense!), then sells us on Card Table Theatre's all-female production of The Resistable Rise of Arturo Ui by, Bertold Brecht at the Eagles Lodge May 19th-21st! With soup! And in a quick Sports Corner: Go Capitals, Sunderland, Royals and Nationals! Contact Us! Follow Us! Love Us! Email: doubledeucepod@gmail.com Twitter: @doubledeucepod Facebook: www.facebook.com/DoubleDeucePod/ Also, please subscribe/rate/review on iTunes! Thirsty? Grab a drink at Frank’s North Star Tavern in scenic North Lawrence, Kansas! Official sponsor of Double Deuce Podcast!
Cari “nemici” sommessi, parliamo della Guerra! Dall’eroica Iliade all’Arte della guerra di Sun Tzu, dalle immense battaglie di Guerra e pace a La resistibile ascesa di Arturo Ui, passando per le aberrazioni politiche di Schmitt e Hitler. La guerra è dura, ma non ci fa paura! LETTURE DELLA PUNTATA: Omero – Iliade Sun Tzu – […]
Libby Purves meets hypnotist and self-help writer Paul McKenna; theatre director Jonathan Church; chef Judy Joo and Rear Admiral Kit Layman. Judy Joo is a Korean-American chef. Her new TV series, Korean Food Made Simple, explores South Korea's food markets, culinary traditions and street food. Judy graduated in engineering and worked in New York's financial district before enrolling at the French Culinary Institute. Based in London, she has worked at Claridges, Restaurant Gordon Ramsay and Heston Blumenthal's The Fat Duck. Korean Food Made Simple is broadcast on Food Network UK. Rear Admiral Kit Layman's new book, The Wager Disaster, pieces together the shipwreck of HMS Wager in 1741. Using eyewitness accounts and diary entries, he tells the story of this little-known nautical tragedy involving murder, starvation, mutiny and an epic open boat voyage of 2500 miles through hostile seas. During his 35-year career, Rear Admiral Layman commanded a variety of ships including HMS Argonaut during the Falklands conflict and the aircraft carrier HMS Invincible. The Wager Disaster - Mayhem, Mutiny and Murder in the South Seas is published by Uniform Press. Jonathan Church is artistic director of the Chichester Festival Theatre. He is currently directing Penelope Wilton in Taken at Midnight which tells the story of young Jewish lawyer, Hans Litten, who subpoenaed Adolf Hitler in 1931. Jonathan, who learnt his trade backstage as an assistant electrician and stage manager, recently directed Singin' in the Rain; The Resistible Rise of Arturo Ui and The Life and Adventures of Nicholas Nickleby. Taken at Midnight is at Theatre Royal Haymarket, London. Paul McKenna is a hypnotist and self-help author. His new book, The 3 Things that will Change Your Destiny Today, aims to enable readers to take control of their lives and make decisions. A former radio presenter, Paul has hosted self-improvement television shows and seminars about hypnosis, weight loss and motivation. The 3 Things that will Change Your Destiny Today is published by Bantam Press. Producer: Paula McGinley.
As Yet Unnamed London Theatre Podcast 03-Nov-2013 With T R P Watson - RevStan - JohnnyFox - Plays Discussed Raving - Hampstead Theatre [00:10] Mojo - Harold Pinter Theatre [08:00] Coward - White Bear Theatre [17:52] The Resistible Rise of Arturo Ui - Duchess Theatre [25:49] Reviews Home - Arcola Theatre 2 The Scottsboro Boys - Young-Vic
TravCast is the Writer's Podcast from the Traverse, Scotland’s New Writing Theatre. Associate Director, Hamish Pirie, interviews well known playwrights whose work features in the year round programme at the Traverse. In this episode, Hamish Speaks to John Nicholson and Steven Canny who have co-authored The Arthur Conan Doyle Appreciation Society which features in The Traverse Theatre's autumn programme. This episode also features interviews with director Orla O'Loughlin and performer Javier Marzan. It also features an extract of the performance in rehearsal starring John, Javier and Gabriel Quiqley. Steven Canny (co-writer) Steven is a four-time Sony Gold winning Writer, Executive Producer and Director. As writer and adaptor work includes: No Wise Men (Liverpool Playhouse); Origins (Pleasance and Theatre Severn); Foot/Mouth (Soho Theatre);Spyski (Lyric Hammersmith & National Tour); The Hound of the Baskervilles (West Yorkshire Playhouse, national tour, Duchess Theatre, West End and 30 international productions); A Dulditch Angel (national tour); A Shropshire Lad (R4 adaptation & Cottesloe); Mnemonic (R3 adaptation for Complicite); The Virtuous Burglar by Dario Fo (World Service). Directing for stage and radio includes: Rik Mayall’s Bedside Tales; Tinker Tailor Soldier Spy (with Simon Russell Beale); Brian Gulliver’s Travels by Bill Dare; Beautiful Dreamers by James Lever and Nat Segnit;Hum by Laura Wade; People Snogging in Public Places by Jack Thorne; Donation by Sean Buckley; Burglar Bewareby Matthew Broughton (Union Chapel); Eleven Lessons For The Paranoid (BAC); The Observed (BAC). As Executive Producer credits include: Just a Minute, Now Show, News Quiz and I’m Sorry I Haven’t A Clue. Work as Associate Director and Dramaturg with Complicite includes: Measure for Measure; The Elephant Vanishes; Mnemonic; The Noise of Time; Light; Genoa 01. Steven was Associate Director of Al Pacino’s The Resistible Rise of Arturo Ui. John Nicholson (co-writer, performer) John works as a writer, director and performer. He is an artistic director of Peepolykus with whom he has toured worldwide since 1995 in 10 productions including The Midsummer Rude Mechanicals (National Theatre). Performing credits include: No Wise Men (Liverpool Playhouse); The 13 Midnight Challenges of Angelus Diablo (Royal Shakespeare Company); Spyski, Jekyll and Hyde (Lyric Hammersmith); The Hound of the Baskervilles (West Yorkshire Playhouse and West End); The Wrong Door, The Bearded Ladies, P.S Sketch Show (BBC Comedy); Brian Gulliver’s Travels, Marley was Dead, Baskervilles (BBC Radio 4). Writing credits include: The Hound of the Baskervilles (West End and numerous licensed overseas productions); Rik Mayall’s Bedside Tales, Marley was Dead, Baskervilles (BBC Radio 4); Richard’s Rampage (Kevin Spacey Foundation) and Origins (Pentabus). Recent directing includes: Force 9 (NYMT winner of MTM award); The First Thing That Ever Happened (Lyric Hammersmith); Advice on Watson and Oliver (BBC2); Sick Room (National Youth Theatre); Nina Conti - Dolly Mixtures and Mike Mcshane in Mon Droit (Edinburgh Festival and Touring), Paul Merton - Out Of His Head (West End). Orla O’Loughlin (Director) Orla is Artistic Director of the Traverse Theatre. Prior to taking up post at the Traverse, she was Artistic Director of the award-winning Pentabus Theatre and International Associate at the Royal Court Theatre. Directing work for the Traverse includes the Herald Angel award winning Dream Plays (Scenes from a play I’ll Never Write) and The Artist man and the Mother Woman by Morna Pearson. Other directing work includes: For Once (Hampstead Theatre Studio, National Tour); Kebab (Dublin International Festival/ Royal Court Theatre); How Much is your Iron? (Young Vic); The Hound of the Baskervilles (West Yorkshire Playhouse/ National Tour/ West End); Tales of the Country, Origins (Pleasance/ Theatre Severn);Relatively Speaking, Blithe Spirit, Black Comedy (Watermill Theatre); Small Talk: Big Picture (BBC World Service/ ICA/ Royal Court Theatre); A Dulditch Angel (National Tour) and The Fire Raisers, sob stories, Refrain (BAC). Orla has also directed two large-scale, site-specific productions: Shuffle with the National Youth Theatre at Merry Hill, one of Europe's largest shopping centres and Underland, performed 200 feet below ground at Clearwell Caves in the Forest of Dean. Orla was winner of the James Menzies Kitchin Directors Award and recipient of the Carlton Bursary at the Donmar Warehouse. Javier Marzan (performer) Javier is a co-artistic director or Peepolykus. Work for Peepolykus includes: The Hound Of The Baskervilles, Spyski(co-produced with West Yorkshire Playhouse) Mindbender, Rhinocerous, Goose Nights. And The Horse You Rode On(The Barbican); Royal Jelly (David Pugh Productions); No Wise Men (Liverpool Playhouse); The Critc (Minerva Theatre); Jack And The Beanstalk, Cinderella, A Christmas Carol (Lyric Hammersmith); A Streetcar Named Desire(Nuffield, Southampton); Beauty And The Beast (Told By An Idiot/Hammersmith Lyric Theatre). Television includes:Mongrels (BBC 3); Clone (Roughcut TV); Extr@ (Channel 4). Film work includes: The History Play: Maggie Heart Galtieri, Hound Of The Baskervilles (BBC Radio 4); Beautiful Dreamers, Cabin Pressure, Marley Was Dead (BBC 4) Gabriel Quigley (Jennifer) Gabriel studied English Literature & Theatre Studies at the University of Glasgow. Theatre work for the Traverse includes: Gordon Brown: A Life in Theatre, 15 Secs and Chic Nerds. Other theatre work includes: Enquirer, Rupture (National Theatre of Scotland); Get Santa (Royal Court Theatre); Macbeth, The Demon Barber (Babel);Strawberries in January (Paines Plough, awarded a Herald Angel for her performance); The City, Bliss/ Mud, San Diego, Love Freaks (Tron Theatre); White Tea (Fire Exit); Six Black Candles (Royal Lyceum Edinburgh); Top Girls(New Vic); Burning Bright (V.amp Productions); Mainstream (Suspect Culture); Dissent (7:84);Trainspotting (G & J Productions); The Gun (Wildcat); Grimm Tales (Leicester Haymarket) and in many productions for Òran Mór’s A Play, a Pie and a Pint. TV work includes: New Town, Rab C Nesbitt, Gary Tank Commander, Welcome to Strathmuir, Chewin the Fat, The Karen Dunbar Show, Glasgow Kiss, Haywire, Only an Excuse, Millport, Life Support, Bumping the Odds (BBC); Taggart, Instant Credit (ITV). Film work includes: Festival (Pirate Productions); Psykotika, The Three Musketeers (Ink Animation); Mandancin (1A Productions). Gabriel has worked extensively for BBC Radio 4, BBC Radio Scotland and BBC Radio 5 Live. Original music by James Iremonger www.jamesiremonger.co.uk Produced and engineered by Cian O Siochain
I dagens sending av Katarsis får vi endelig høre selve anmeldelsen av teaterstykket Arturo Ui, som i disse dager er å se på Trøndelag Teater. I tillegg får du høre intervju med regissør Harry Guttormsen. Line gir deg nytt på kunstfronten og Helene har vært i Berlin. Katarsis presenterer dere her også for sitt nye Kulturkalender-konsept: Kulturhatten! Så i tillegg til Ukas kunstner vil Ragnhild gi dere Kulturkalenderen for uke 5, med italiensk aksent!
I dagens sending hadde vi besøk av stand up-debutant Vegar Tryggeseid, og det var stemning! Han debuterte under premieren på Katta med Slips på BrukBar/SUPA, og vi får også høre klipp av hva de andre komikerne framførte der. I tillegg har Helene og Line vært på premieren av teaterstykket Arturo Ui, og har intervjuet hovedrolleinnhaver Hans Petter Nilsen og medskuespiller Mats Bones. I tillegg til dette igjen forteller Jon-Arild Johansen ved Trondheim Kunstmuseum hva man kan oppleve der kommende semester! Også kom han med en oppfordring!
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