Podcasts about Aulis

Lu Bueno é uma premiada diretora de arte, cenógrafa, figurinista e pesquisadora. Bacharel em Desenho Gráfico pela FAAP, mestre em artes/cenografia pela ECA-USP, é doutora em Design pela FAU-USP. Ao longo de sua carreira ministrou inúmeras palestras e cursos e hoje leciona como professora convidada na Universidade Belas Artes e no Senac para os cursos de Pós-Graduação. Trabalha há mais de 30 anos como diretora de arte em cinema, teatro, televisão e eventos. No seu currículo tem parcerias com renomados grupos de teatro paulista e nomes como Antônio Fagundes, Gerald Thomas, Ney Latorraca, Gabriela Duarte, Ulysses Cruz e Astrid Fontenelle. Fez a cenografia e a direção de arte para clips e shows de Claudia Leite, Chitão e Xororó, Grupo Sambô dentre outros. Seus cenários estiveram nas telas do Canal BIS com a série musical Minha Trilha Sonora e Lounge e na TV SONY com o reality show Breakout BR. Na internet assinou séries de brended content como Marias (Intimus) e AP da Berê (Quem disse Berenice) além de inúmeros filmes comerciais. Seus trabalhos já foram indicados vencendo vários prêmios inclusive o Prêmio Shell e Pananco de melhor Cenografia e Figurino. Hoje, além de lecionar e atuar como profissional do mercado tem o orgulho de manter uma iniciativa sustentável e colaborativa chamada BANCO DE TECIDO.@lububr SinopseInspirado na tragédia Ifigênia em Aulis a Cia. Elevador de Teatro Panorâmico, mantém o tom trágico e a fábula/mito de Eurípedes, em que o comandante grego Agamêmnon estaciona suas tropas na praia, prestes a atacar Tróia pelo mar, mas é impedido pela falta de ventos. Para colocar suas velas em movimento, a deusa Ártemis pede o sacrifício da filha de Agamêmnon, Ifigênia. Ele concorda, e, quando a mulher Clitemnestra e o apaixonado Aquiles intervêm para liberá-la, a garota se entrega voluntariamente, pelo bem das tropas, do amado e da família.Ficha técnica:Dramaturgia – Cássio Pires.Direção – Marcelo Lazzaratto.Elenco – Carolina Fabri, Daniela Alves, Gabriel Miziara, ManfriniFabretti, Maurício Schneider, Pedro Haddad, Rodrigo Spina, Sofia Botelho e Wallyson Mota.Músicos – Rafael Zenorini e Marina Vieira.Trilha Sonora – Rafael Zenorini.Assistente de Direção – Thomaz Kardos.Instrumentalização de Atores – Verônica Fabrini.Iluminação – Wagner Freire.Cenografia e Figurino – Lu Bueno.Direção de Produção –GéssicaArjona.Vídeo no Youtube:https://www.youtube.com/watch?v=4ISMxKCyS0UMatérias de referência:https://mangacenografica.blogspot.com/2012/03/cia-elevador-de-teatro-panoramico.htmlhttps://www.horizontedacena.com/tag/cia-elevador-panoramico/Download do artigo "Ifigênia: os sons como elementos de composição cênica", por Marcelo Lazzaratto e Rafael Zenorini89https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.periodicos.ia.unesp.br/index.php/rebento/article/view/104/93&ved=2ahUKEwjwpuvvkvmLAxUOs5UCHbo7EcwQFnoECCoQAQ&usg=AOvVaw2G0_GrgQssABT8e3hEgwSS

Send us a textWay back last year Lauren caught wind that an author was finally doing a retelling about Ipheginia. Fastforward to now.... Lauren gets into sources, character choices and things that seem totally implausible with Jenny around this pivotal moment that leads up to the Trojan War. The Death and Life of Ipheginia also turns her story from a fullstop into a semi-colon.... what if her story didn't end at Aulis?They also touch on Jennys short story about Aerope and learn where the curse of the House of Atreus came from.Find Jenny online: instagram - @jsusannewilson 

Agamemnon is a family man. It's just a shame that family is also the answer to who needs to be put up on an altar. As the Greeks are loitering at Aulis before setting off for Troy, we watch the goddess Artemis announce that Iphigenia needs to sacrificed in order to placate her anger... Sources for this episode:  Antoninus Liberalis (1992), The Metamorphoses of Antoninus Liberalis. Translated by F. Celoria. London and New York: Routledge. Euripides (1910), The Plays of Euripides in English in 2 Volumes (Volume 1). Translated by Shelley Dean Milman, Potter and Woodhull. London and New York: J. M. Dent & Sons Ltd. and E. P. Dutton & Co. Evelyn-White, H. G. (1943), Hesiod: The Homeric Hymns and Homerica. London: William Heinemann Ltd. Frazer, J. G. (1921), Apollodorus: The Library (Volume II). London: William Heinemann. Hyginus (1872), Fabulae. Edited by M. Schmidt. Jenae: Hermann Dufft. Lucretius (1921), On the Nature of Things. Translated by W. E. Leonard. London, Toronto and New York: J. M. Dent & Sons Ltd. and E. P. Dutton & Co. Author unknown, Wikipedia (date unknown), Myrmidons (online) (Accessed 07/12/2024). Author unknown, Wikipedia (date unknown), Snake Island (Ukraine) (online) (Accessed 07/12/2024).

We welcome Charles Carron Brown to The Premier Cru. Charles is the Restaurant Manager at Aulis, an exclusive Michelin Star restaurant as part of the Simon Rogan Group. Aulis is not your everyday dining experience, incorporating: Tasting menus - both food and wine Exceptional food - Michelin Star restaurant Sustainability - food sourced from Simon Rogan's farm Exclusivity - just 12 covers per evening On the episode we introduce you to Aulis and their wine program, tasting three wines on their list by:⁠ Follow ⁠@The_Premier_Cru⁠ on socials to keep up to date with future episodes and behind the scenes snippets.

Episode 3 of The Road To Joni picks up a thread from our conversation with Don Was… and leads us to esperanza spalding. In 2021 esperanza collaborated with her mentor Wayne Shorter on Iphigenia, an opera with a revisionary take on Euripides' Greek tragedy Iphigenia at Aulis. It was Ipheigenia that led esperanza to Joni's living room, though her path on the road to Joni started years prior with a track from the 1976 album Hejira. esperanza tells host Carmel Holt how, at a recent Janet Jackson concert, she was reminded that Joni Mitchell has “literally influenced everyone.” Joni's influence on powerhouse string players and Joni Jam members Chauntee and Monique of SistaStrings began with “the lady that sings on the Janet Jackson song. (‘Got Til It's Gone').” A move from their hometown of Milwaukee to Nashville immersed the sisters in the Americana scene… which led them to a place in Brandi Carlisle's touring band… which led to that fateful Newport 2022 performance when Joni took the stage. SistaStrings credit Joni for being an example for women to “stand on your own, be who you are, make weird music and be loud about it.”

Der Countertenor Max Emanuel Cencic hat für sein Bayreuth Baroque Festival mal wieder tief in der Operngeschichte gestöbert und eine "Iphigenien"-Vertonung von Nicola Porpora gefunden. Sie erweist sich im Markgräflichen Opernhaus als so mitreißendes wie vergnügliches Duell zwischen Verstand und Gefühl.

Fuchs, Jörn Florian www.deutschlandfunk.de, Kultur heute

Today's episode of Hangout with Sujata features the brilliant architect of a burgeoning international culinary empire; Simon Rogan. Simon is an internationally renowned, award-winning chef, recognised as one of the pioneers of the farm-to-table movement. In 2002, Simon opened his debut restaurant L'Enclume in The Lake District village of Cartmel, with a focus on hyperlocal and seasonal ingredients. The restaurant currently holds three Michelin stars, the top spot in the Good Food Guide and five AA Rosettes, as well as the top ranking in La Liste with Simon Rogan being the first British chef to achieve this. In 2017, Simon was recognised as the AA chef of the year, and is currently vice president of the Bocuse d'Or UK team.Simon opened Rogan & Co, his second venture in Cartmel in 2008 which won its first Michelin star in 2018 and currently holds three AA Rosettes. In 2016, Simon launched Aulis Cartmel, a six-seater chef's table experience. In 2011, Simon established Our Farm in The Lakes, which provides the restaurant group with high quality, sustainable produce. A London outpost of Aulis arrived in October 2017 as a stand-alone dining destination, a twelve-seater chefs table experience in central Soho. Simon expanded his restaurant portfolio to Hong Kong, opening Aulis in January 2019 and Roganic in February 2019. Roganic Hong Kong was awarded its first Michelin star in December 2019. Simon opened Henrock in October 2019, an informally elegant restaurant set within Linthwaite House, a contemporary country house hotel in the heart of the Lake District. In 2020, in response to the global pandemic, the group launched Home by Simon Rogan, Simon's delivery offering, providing regularly changing three-course 'at home' dining experiences created in The Lakes. In 2021, Simon's efforts towards sustainability were recognised with the newly introduced Michelin green star, awarded to both L'Enclume and Roganic Hong Kong. In 2022, Simon opened a Hong Kong-based bakery and natural wine bar The Baker & The Bottleman. L'Enclume was awarded its third Michelin star, the first restaurant in the north of England to do so. This coincided with the group celebrating 20 years since Simon opened L'Enclume. In early 2023, he expanded his portfolio to Valletta, Malta with the opening of ION Harbour by Simon Rogan. This was followed by an expansion into Thailand with the opening of Aulis Phuket in December of the same year. Listen now to the full episode of Simon explaining to Sujata the meaning behind the following selection of music: 1. So It Again by Steely Dan 2. Live Forever by Oasis 3. Git With Me by Paris Red 4. Unfinished Sympathy by Massive Attack 5. Like I Love You by Justin Timberlake 6. Virginia Plain by Roxy Music

In this episode Justine interviews the inspiring Two Michelin star chef of Da Terra, Rafael Cagali.Originally from São Paulo in Brazil, Rafael started his career in London at the age of 21. Inspired by his Italian heritage, young Cagali then took to Italy to work under Chef Stefano Baiocco at A Villa Feltrinelli where he spent over 3 years. Later in another European excursion, he began growing his career after travelling to Spain to work for Chef Quique Dacosta and Martin Berasategui. After returning to England, Cagali joined the team at famed restaurant The Fat Duck by Heston Blumenthal where he had an honourable stagiare position and after graduating took on the role of their Chef de Partie. From there, he went onto work with Simon Rogan at Fera at Claridges. Leading the Aulis in Fera, Rafael carried on there as head chef. In January 2019, Rafael opened his first restaurant Da Terra in Bethnal Green, London. With Cagali as executive chef after only 8 months, and followed by hard work and dedication, Da Terra gained its first Michelin star. And just 1 year later, following a very eventful 2020, the restaurant was awarded their second star in the Michelin guide of 2021. Rafael Cagali's experimental cuisine is inspired by the flavours of his origins and influences of his culinary experiences throughout his career.Instagram: @rafacagali and @daterrarestaurant and @elis.ldnWebsite: daterra.co.uk and restaurantelis.co.ukThank you for listening. Subscribe now so you don't miss an episode.You can follow mymuybueno on Instagram to stay updated in all going on, now in it's eleventh year and all Justine's restaurant visits and reviews too.And mymuybueno Chefs Instagram – our culinary community and mymuybueno Group.Use our hashtag when posting your best dishes and when searching for inspiration #mymuybuenochefs#mymuybueno #mymuybuenochefs #mymuybuenochefsgetpersonal #eatlivelearn Hosted on Acast. See acast.com/privacy for more information.

The Girl with All the Gifts is the end of the world as we know it and Mikey and Roxy feel fine. ----- The Girl with All the Gifts (2016) https://www.imdb.com/title/tt4547056/ Streaming free on Tubi at https://tubitv.com/movies/642254/the-girl-with-all-the-gifts ----- Referenced This Episode Merlin's Shop of Mystical Wonders (1996) https://www.imdb.com/title/tt0174917/ The Paper (1994) https://www.imdb.com/title/tt0110771/ The Trolley Problem https://en.wikipedia.org/wiki/Trolley_problem The Last of Us (video game, 2013) https://en.wikipedia.org/wiki/The_Last_of_Us Note: The screenplay was written concurrently with the 2014 novel of the same name and was based on a short story “Iphigenia in Aulis” as part of the 2012 anthology An Apple for the Creature, so the story pre-dates the release of the video game. So it's a case of concurrent yet independent development rather than one being inspired by the other. I Am Legend by Richard Matheson (novel, 1954) https://amzn.to/3rsiv74 The Exorcist (1973) https://www.imdb.com/title/tt0070047/ (Yes, the author of The Exorcist William Peter Blatty also wrote the screenplay) The Social Network (2010) https://www.imdb.com/title/tt1285016/ Yesterday (2019) https://www.imdb.com/title/tt8079248/ A Few Good Men (1992) https://www.imdb.com/title/tt0104257/ Animal Crossing (video games, 2001 and 2020) https://animalcrossing.nintendo.com/ ----- Scary Basement is part of the Super NPC Podcast Network. Support us on Patreon at https://www.patreon.com/supernpcradio to get bonus episodes from Scary Basement and the rest of the Super NPC Radio crew. ----- Scary Basement on Twitter https://twitter.com/scary_basement Scary Basement on YouTube https://www.youtube.com/@scarybasementpodcast Scary Basement on Instagram https://www.instagram.com/scarybasementpod/ Hosts: Mikey McCollor on Twitch at https://www.twitch.tv/secretblimp, Twitter at https://twitter.com/secretblimp, and Bluesky at https://bsky.app/profile/secretblimp.bsky.social Roxy Polk on Twitch at https://www.twitch.tv/redmageroxy, Twitter at https://www.twitter.com/redmageroxy, and Bluesky at https://bsky.app/profile/redmageroxy.bsky.social Post-production and editing by Darryl Mott

The Killing of a Sacred Deer is a 2017 psychological horror thriller film directed by Yorgos Lanthimos and starring Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy, Sunny Suljic, Alicia Silverstone, and Bill Camp. The screenplay by Lanthimos and Efthymis Filippou was inspired by the ancient Greek tragedy Iphigenia in Aulis by Euripides, and follows a cardiac surgeon who introduces his family to a teenage boy with a connection to his past, after which they mysteriously begin to fall ill.*with special guest Ned!

Featured in Aulis: What I have to say about the supersize oceans of the exoplanet C59034 - by Ranju Mamachan - narrated by Barry Yedvobnick The First Thanksgiving - by Harris Tobias - narrated by Tim Borella The Night After Christmas - by Michael T. Schaper Our Audio License AntipodeanSF Radio Show by Ion Newcombe is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Based on a work at www.antisf.com.au. Permissions beyond the scope of this license may be available at https://www.antisf.com.au/contact-editor Music Credits Oceans Apart by The OO-Ray is licensed under a Attribution-NonCommercial 3.0 International License. Primal Shaman by Alex Mason is licensed under a Attribution-NonCommercial 4.0 International License. Reindeer Sleigh by Dee Yan-Key is licensed under a Attribution-NonCommercial 4.0 International License. Intro & Outro Music Celestial Navigation by Blue Dot Sessions is licensed under a Attribution-NonCommercial License

There's an eerie stillness in the port town of Aulis when Iphigenia arrives there for her wedding. What exactly will it take to bring back the winds and allow the Greek ships to sail to Troy? An original series co-created with KJ Dwyer, featuring collaborations with several writers. 
With thanks to Chris Mack for the concept of the Trojan asteroids, sparked off in our writers group. Written and performed by Julie Kayla. Directed by Bibi Jacob. Sound and production by Geoff Chong Outro by Bibi Jacob.

Ready for uncomfortable laughter? Welcome to the world of Yorgos Lanthimos and The Killing of a Sacred Deer (2017).Pulling from Euripides' Greek tragedy "Iphigenia in Aulis," this divisive film deftly balances pitch black, absurd comedy (children falling! Uncomfortable sex talks!) with horrifying moral dilemmas and dread (children dying!).Plus: misunderstanding kink and incest, monotone line deliveries, female passivity and male narcissism, bad (?) singing, and all of the times we laughed and probably shouldn't have.Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners> Trace: @tracedthurman> Joe: @bstolemyremoteBe sure to support the boys on Patreon! Theme Music: Alexander Nakarada Hosted on Acast. See acast.com/privacy for more information.

Biber at its best. Es müssen nicht immer die Rosenkranzsonaten sein. Heinrich Ignaz Franz von Bibers Sonatae tam Aris, quam Aulis servientes bieten Festlichkeit und Einkehr und jede Menge barocker Sinnlichkeit

With the Donmar Warehouse about to open a brand new production of Lillian Hellman's Watch on the Rhine, the incredible Kate Duchêne sat down to talk about the new show and why Hellman's writing feels particularly resonant today. Despite never doing a Hellman show before, she tells us about how her writing stands out among her contemporaries and why she's so excited to bring this show to a 2022 audience.  In a world as politically divided as it is today, the show feels particularly relevant and will see Kate star alongside a stellar cast that includes Patricia Hodge and Caitlin Fitzgerald. We also get to hear Kate talk about reuniting with Ellen McDougall following their joint collaboration with Katie Mitchell on the National Theatre's production of Beauty and the Beast and why the Donmar Warehouse felt like the perfect venue for a revival of Watch on the Rhine.Kate Duchêne has worked extensively in theatre for over 30 years, starting out in Edinburgh before moving to the Royal Shakespeare Company and then to the National Theatre where she has notably worked with director Katie Mitchell. With credits spanding from Hecuba in Women of Troy to Clytemnestra in Iphigenia in Aulis to God in Everyman, Kate Duchêne is truly one of our most remarkable actresses working today. In this very special interview, we hear her talk about her illuminating career including reflections on playing Miss Hardbroom in the hit original TV series adaptation of The Worst Witch. As she prepares to play Anise in Lillian Hellman's timely play, we also get a glimpse of Kate's warm personality and wonderful sense of humour.Watch on the Rhine plays at Donmar Warehouse from 9 December to 4 February with tickets available now from the Donmar Warehouse website.

Mis Trujillo and Sophie Paluch from Auddy join Flixwatcher remotely to review Mis' choice The Killing of A Sacred Deer. The Killing of A Sacred Deer is a 2017 psychological horror/thriller film directed by Yorgos Lanthimos with a screenplay inspired by the Greek tragedy Iphigenia in Aulis. Colin Farrell plays a heart surgeon Steven Murphy who strikes up an unusual relationship with Barry Keoghan's Martin - the son of a man who died while Steven was operating on him. Steven invites Martin to meet his wife Anna (Nicole Kidman), his daughter Kim (Raffey Cassidy) and his son Bob (Sunny Suljic) and shortly after Bob becomes paralysed with no know cause. Martin gives Steven an ultimatum that to “balance things” for the death of his father, Steven must kill either Anna, Bob or Kim or they will all die. It is fair to say Yorgos Lanthimos films are an acquired taste and not for everyone - The Killing of A Sacred Deer is perhaps his most divisive so far. Recommendability scores for The Killing of A Sacred Deer were mixed as it swings wildly between black comedy and deeply unsettling. Slightly higher engagement scores manage to give it an overall rating 3.46. Fan of Yorgos Lanthimos? Be sure to check out our episode on The Lobster!   [supsystic-tables id=289 Episode #277 Crew Links Thanks to Episode #277 Crew of Mis Trujillo (@Miz_Trujillo) Sophie Paluch (@pouchatron) from AuddyShows Find their Websites online at https://twitter.com/Managethatpod and at https://twitter.com/podimo_global and at https://twitter.com/Kitschinc and at https://twitter.com/Larkhilluk and at https://twitter.com/PromotePodcast Please make sure you give them some love   More about Killing of a Sacred Deer For more info on Killing of a Sacred Deer, you can visit Killing of a Sacred Deer IMDb page here or Killing of a Sacred Deer Rotten Tomatoes page here. Final Plug! Subscribe, Share and Review us on iTunes If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below. Learn more about your ad choices. Visit megaphone.fm/adchoices

Säveltäjä Aulis Sallinen pohtii luovuutta kirjoituskokoelmassaan "Elän, kirjoitan". Päivän mietelauseen on valinnut Juho-Pekka Rantala. Lukijana kuuluttaja Timo Teräsvuori.

Welcome back to Grilled by The Staff Canteen, this is series 4 and our fifth co-host is Alex Bond. Alex is chef and owner of Michelin-starred Alchemilla and his latest venture Mollis plus a former Great British Menu contestant. Alex has picked six guests from the hospitality industry to chat to and put under the Grilled spotlight, and his first guest is Oli Marlow, Executive Chef of Aulis and Roganic Hong Kong and Aulis London. This is Alex's first episode and he discusses why everyone wants Tony Parkin in their phonebook, why one burger is never enough and howimportnat hard work is to succeed in the hospitality industry. Thanks for listening to Grilled by The Staff Canteen, we talk to the UK's best chefs every week so make sure you follow us so you don't miss out on the latest episode. If you are not already become a member of The Staff Canteen and keep up to date: www.thestaffcanteen.com/index/register Please support us if you like what we do: bit.ly/TSCContribute

Agamemnon is the mightiest ruler in Greece, and father of the young princess Iphigenia. When an accident invites the wrath of the goddess Artemis, a dreadful sacrifice is demanded from Agamemnon: the slaughter of his own beloved daughter. A tragedy of anger, deception, and despair envelops the Greek camp at Aulis, with the Trojan War and the life of the princess hanging in the balance. A story from Greek mythology, based on Euripides' tragic play Iphigenia in Aulis (first performed in 405 BC, Athens), featuring: Iphigenia, Agamemnon, Clytemnestra, Achilles, Menelaus, Calchas, Orestes Original story by Konstantinos Christidis --- CREDITS: Music by Jon Presstone and Humans Win (www.storyblocks.com) Episode Thumbnail Image: Wall painting from Pompeii depicting the sacrifice of Iphigenia (1st century AD) WDS Logo Image: Kylix with Apollo playing the lyre and pouring a libation (c. 470 BC, Delphi Archeological Museum) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Em palco na Grande Opera de Avignon está, até esta quarta-feira, a peça Ifigénia. Um texto do português Tiago Rodrigues, com a encenação de Anne Théron. A reescrita do clássico grego de Eurípides para um contexto contemporâneo, onde a mulher assume posição de destaque e nas palavras da encenadora a “mulher diz não”. O espectáculo debruça-se sobre a história da filha do rei Agamémnon, que o soberano sacrifica em nome do combate na guerra de Tróia. Trata-se de uma co-produção do Teatro Nacional de Estrasburgo e o Teatro Nacional São João, do Porto. Em palco um colectivo de nove actores Carolina Amaral, Fanny Avram, João Cravo Cardoso, Alex Descas, Vincent Dissez, Mireille Herbstmeyer, Julie Moreau, Philippe Morier-Genoud e Richard Sammut. Anne Théron é a encenadora da “últimas das Ifigénias”. Qual é a diferença entre a tragédia grega clássica e este texto foi a pergunta de partida para esta conversa. “Há uma diferença enorme. No texto clássico a Ifigénia aceita morrer. Trata-se da glorificação do nome, no guardar na memória que ela morreu pela Grécia, etc, etc. Neste texto é completamente diferente. No texto de Tiago Rodrigues as mulheres dizem ‘não'. Isso começa logo pela Clitemnestra que, como nas versões anteriores, bate-se pela sua filha de um ponto de vista maternal. Porém, aqui, ela avança para o campo político. Questiona o que é justo, o que é esta guerra, se é necessária, a sua utilidade, a quem serve… Toma proporções políticas que são completamente apaixonantes: as mulheres questionam o funcionamento do poder. E sobretudo, Clitemnestra faz uma pergunta absolutamente magnífica a Agamémnon: e se tu renunciares? E ele responde: renunciar a quê? Ao sacrifício? À guerra? Não diz ela. Se tu renunciares a seres rei, se tu renunciares a quem tu és? Já na recta final, quando a morte de Ifigénia é inevitável, esta palavra que é recorrente no texto, inevitável, Clitemnestra amaldiçoou-o e diz-lhe que espera que ele morra na guerra e que se ele voltar ela vai matá-lo com as próprias mãos. Nesse momento, a Ifigénia diz não. Não a este mundo de mentiras. Ela não quer que o seu nome sirva para a repetição contínua da mesma história. Esta postura acontece pela primeira vez. É, por isso, que eu digo que esta é a última das Ifigénias, não há espaço para mais nenhuma após esta. Como é anunciado desde o início, trata-se de uma tragédia e vai terminar mal. Efectivamente, ela morre, mas morre como uma mulher livre, proibindo que a vangloriem. Ela quer ser esquecida.   Há aqui qualquer coisa como uma esperança estranha… uma abertura para um futuro possível." Há uma necessidade de actualizar os clássicos? “Não se trata de uma actualização. Não é isso. É questionar de outra forma. É melhor do que actualizar." Porque é que decidiu guardar alguns diálogos em português entre a Ifigénia e Aquiles? "Sabe quando temos aquela paixão avassaladora por alguém e parece que existe de imediato uma língua própria que nos é comum . Eu estava no Porto a dirigir este atelier e a encontrar actores portugueses. Acabei por escolher a Carolina Amaral e o João Cravo Cardoso. Ouvi-los em português, esta língua, era verdadeiramente lindo. Mais que musicalidade eu ouço um som. Foi isso que me permitiu criar esta história de amor imediata. Os dois têm um código só deles, uma língua deles.” A actualidade influenciou a encenação da peça? “Foi uma coincidência. Há dois anos que trabalho nesta peça, mas é evidente que quando a 24 de Fevereiro, Putin decide invadir a Ucrânia, foi mais do que chocante. Esta peça é precisamente sobre a memória, para que a memória não nos faça reproduzir permanentemente esse tipo de coisas. Mas a encenação da peça não mudou considerando a actualidade. Todavia, não podemos deixar de pensar na guerra logo no início da peça. Para mim é evidente que é o som da guerra na Ucrânia. É o som da guerra. O que me interessava era de realçar estas sombras, que se transformam em actores, personagens, etc… esta memória da guerra. Hoje em dia a guerra tem este som, não teve sempre o mesmo som, mas existe desde sempre e continuamos a reproduzi-la. E reproduzimos, e reproduzimos, e reproduzimos…” Carolina Amaral é Ifigénia na peça com o mesmo nome de Tiago Rodrigues, ele que será o director deste Festival de Avignon a partir de Setembro. Ao microfone da RFI, Carolina Amaral começou por explicar que se trata de uma Ifigénia do século XXI, com um novo “discurso e reivindicação do seu corpo”.  “É, de facto, uma Ifigénia do século XXI ou, pelo menos, com um discurso engajado, uma reivindicação do seu corpo e do seu ânimo novo. Até então, as Ifigénias que surgiram aceitavam o sacrifício de modo quase passivo e aceitavam em nome da pátria ou dos valores do patriarcado. Há uma Ifigénia que diz, por exemplo, eu morro porque o que é a morte de uma mulher em comparação com a vida destes homens todos? Portanto, esta questão quase da subjugação feminina sempre esteve um pouco presente e neste caso a Ifigénia chega-se à frente e diz eu morro mas morro para que esqueçam esta história e para que cessem todas as tragédias. Diz o meu corpo é-me devido a mim, é meu. Portanto parem de falar do meu corpo como se fosse um objecto. Vou morrer mas por decisão minha e não para servir um objectivo que leva à guerra ou que alimente estes ideais de patriarcado." A esta tragédia clássica cai-lhe o classicismo, mas continua a ser tragédia porque no fim a Ifigénia morre à mesma.  “Sim, ela morre. Ela própria diz que não tem armas para combater a inevitabilidade do destino, porque as tragédias continuam a acontecer. É no fundo aquilo que acontece no exterior, as nossas condicionantes, as coisas que nos afectam e que nós não conseguimos escapar delas.  Por exemplo, é uma situação actual, o facto dos direitos das mulheres terem revertido séculos nos Estados Unidos. Era um direito adquirido, o corpo das mulheres a elas lhes pertencem e, de repente, o direito do aborto é-lhes vedado.Portanto, nós não conseguimos controlar aquilo que, muitas vezes, acaba por acontecer no real, mas podemos controlar o discurso e podemos controlar a leitura destes acontecimentos com esta basculação daquilo que sustenta a leitura dos acontecimentos. Neste caso, a Efigénia, a sua força apesar da tragédia que nos fecha sempre em ciclos, é esta leitura que ela propõe que acaba por talvez poder mudar as coisas ao longo do tempo. Não se calhar aqui e agora, mas a longo prazo.” Que tempo é este da peça? A peça passa-se do final do dia até ao nascer do dia. Portanto, é uma noite, mas há um tempo mental, há um tempo também da memória porque a peça é contada através da memória. “Exactamente. É quase como se houvesse uma certa atemporalidade que nos junta a todos neste não lugar que é simultaneamente todos os lugares. É também um espaço de ensaio quase como se estes actores se reunissem e dissessem: vamos contar a história de uma forma diferente, vamos vivê-la por dentro totalmente e vamos entregar-nos ao mito mas encontrar maneira de escapar a esta carga derradeira das coisas. Por isso, é simultaneamente todos os lugares e nenhum lugar. Não é uma recriação histórica, mas estamos a falar de um mito, uma coisa que está lá, desde sempre. Estamos a falar hoje, mas estamos a assegurar todos estes tempos e também os tempos que virão. O próprio Agamémnon diz: “Eu lembro-me do futuro”, quase como se no aqui agora estamos a referir-nos e a dirigir-nos a todos os tempos.” João Cravo Cardoso é o Aquiles desta Ifigénia contemporânea. O “mais vertical e o mais bravo dos guerreiros” que vê o seu nome envolvido para atrair Clitemnestra e Ifigénia para Aulis.  “Estamos no dia anterior ao início da guerra de Tróia. Helena foi levada ou decidiu ir para Tróia e todos os gregos, cumprindo a promessa que fizeram ao pai de Helena, preparam-se para avançar para Tróia, mas nós não temos vento. Agamémnon, o nosso rei, recebe um oráculo que lhe diz que para que o vento volte a soprar, a sua filha Ifigénia tem que ser sacrificada à deusa Artémis.  Nós, no momento, estamos num campo de preparação para a guerra, onde só estão chefes de guerra, generais e soldados. Não há mulheres.  Há semanas que estamos à espera que o vento volte a soprar e Agamémnon para atrair Clitemnestra com Ifigénia para Aulis, aconselhado pelo astuto Ulisses, organiza um plano de inventar um casamento de Ifigénia com Aquiles, o mais vertical e o mais bravo dos guerreiros. Pedido ao qual Clitemnestra anui imediatamente e leva a sua filha para um lugar onde vai ser na verdade sacrificada. O Aquiles é este indivíduo cujo nome é utilizado para esta trapaça que é imposta a Clitemnestra e a Ifigénia.” Aquiles que estava disposto a sacrificar-se pela Ifigénia? “Absolutamente. Estava disposto a sacrificar-se pela Ifigénia. Quando Aquiles chega à cena, ele vem ao acampamento de Agamémnon, o seu rei, o seu general, para lhe impor o ultimato que os seus homens lhe impuseram a ele, ou seja, ou vamos hoje para Tróia ou vamos hoje para casa, não esperamos mais. Mas quando chega ao acampamento de Agamémnon, ele depara-se com Clitemnestra que julga ver o seu futuro genro e então quando ele se dá conta daquilo que realmente está a acontecer, objectivo de ir para Tróia ou ir para casa ultrapassa-se e entra assim no seu segundo objectivo que é salvar não só Ifigénia mas também Clitemnestra do seu sofrimento. Ele está disposto a combater todos os gregos, antes da guerra, para evitar o sacrifício exactamente até ao momento em que a própria Ifigénia lhe diz “tu também Aquiles tens que me esquecer”. Ele anui e a única coisa que lhe diz é: “mas se mudares de ideias só tens que olhar para mim, eu estarei aqui." Há dois ou três diálogos em português na peça entre Aquiles e Ifigénia, precisamente entre o João e a Carolina Amaral. Aquilo que a Anne Théron decidiu que ser a língua do amor.  “Sim, a Anne Théron não percebe uma palavra de português mas ela adora o som. Nós falamos em português no encontro, no amor à primeira vista que Aquiles vive com a Ifigénia que o faz esquecer da guerra.”

learn about Finnish composer Aulis Sallinen

In which Carla goes deeper into the Five and a Half Hallway and The Three Attic Whalestoe Letters of the House of Leaves novel (fifth episode in the series).Theme song and stinger: “Comadreamers I” by Haunted Me, off their Pleasure album, used with permissionThe House of Leaves universe:House of Leaves by Mark Z. Danielewski https://bookshop.org/a/6560/9780375703768The Whalestoe Letters: From House of Leaves https://bookshop.org/a/6560/9780375714412Poe's album “Haunted”: Apple https://apple.co/2MT62F4, Spotify https://spoti.fi/3c2RsDqHouse of Leaves There Might Be Cupcakes series: https://www.podchaser.com/lists/house-of-leaves-episodes-there-might-be-cupcakes-podcast-107aIYJ3DwReferenced and Recommended:Pisces: https://thoughtcatalog.com/january-nelson/2021/05/pisces-woman/The Seafarer: https://oldenglishpoetry.camden.rutgers.edu/the-seafarer/The Battle of Maldon: https://oldenglishpoetry.camden.rutgers.edu/battle-of-maldon/Homer's Odyssey: https://bookshop.org/a/6560/9780143039952Aeschylus's Oresteia https://bookshop.org/a/6560/9780140443332Euripides' Iphigenia in Aulis https://bookshop.org/a/6560/9781534322158The Killing of a Sacred Deer https://bookshop.org/a/6560/0031398277897Journey to the Center of the Earth by H. G. Wells, narrated by Tim Curry https://www.audible.com/pd/Journey-to-the-Center-of-the-Earth-A-Signature-Performance-by-Tim-Curry-Audiobook/B003ZFO3FAThe Deep House https://letterboxd.com/film/the-deep-house/The Descent https://letterboxd.com/film/the-descent/ and The Descent 2 https://letterboxd.com/film/the-descent-part-2/The Blair Witch Project https://letterboxd.com/film/the-blair-witch-project/How to Support Cupcakes:Leave a review: https://lovethepodcast.com/theremightbecupcakesFollow the podcast: https://followthepodcast.com/theremightbecupcakesSubscribe on Substack: http://theremightbecupcakes.substack.com, free and paid subscriptions, 75% paid subscription discount for Patreon subscribersAudible: https://www.audible.com/ep/creator?source_code=PDTGBPD060314004RCare/Of Vitamins: https://takecareof.com/invites/chr4bw and enter code CUPCAKES at checkoutPatreon: https://patreon.com/theremightbecupcakesand please visit my lovely sponsors that share their ads on my episodes.Where to Find Cupcakes:Substack: http://theremightbecupcakes.substack.comPatreon: http://patreon.com/theremightbecupcakesHorror Forum: https://theremightbecupcakes.com/horrorFacebook Page: https://www.facebook.com/theremightbecupcakesFacebook Group: https://www.facebook.com/groups/theremightbecupcakesTwitter: @mightbecupcakesInstagram: @theremightbecupcakes and @carlahauntedReddit: https://www.reddit.com/r/theremightbecupcakes r/theremightbecupcakesGoodreads: https://www.goodreads.com/group/show/804047-there-might-be-cupcakes-podcast-groupContact: carla@theremightbecupcakes.comComplete list of ways to listen to the podcast on the sidebar at http://theremightbecupcakes.com

In our last episode we looked at Achilles' early life and his relationships with the women who crossed his path. In this episode, we follow him to the beach at Aulis—where all the Greek kings and heroes, anyone who was anyone, had gathered at the start of the Trojan War. Achilles left Pyrrha behind, but his time as a dancing girl followed him to that beach. This is where the wind stalled. This is where Achilles first clashed with that titan of fragile masculinity, Agamemnon. And this is where a girl named Iphigenia met her fate. Get ad-free episodes here: https://www.patreon.com/ancienthistoryfangirl Learn more about your ad choices. Visit megaphone.fm/adchoices

Podcasting — The evolution of the musical is upon us.It's time for new works. Scattershot Symphony will now evolve from the past, to the present and into the future. It's inevitable. So here we are at the cutting edge of 21st century musicals – the musical podcast.Today we offer a preview, actually, a better word for that would be a PRELISTEN, to songs from a musical of one of the greatest classics of the theater. Euripedes' Iphigenia In Aulis.  It's an ancient Greek story, but it resonates with today's world completely in that it is the story of a war begun with no purpose except to please a deranged leader's egotistical wishes. Sound familiar?Scattershot Symphony is presented by Watchfire Music. Learn more at watchfiremusic.com 

Gluck Gluck Ballet Suite no. 1The Ballet Suite No. 1 includes selections from three of Gluck's greatest stage works. It begins with an Air Gai and Lento from Iphigenia in Aulis. Familiar music, taken from Gluck's most frequently performed and famous opera Orfeo ed Euridice, follows the initial movement. This well-known music is arranged in a three-part form in which the graceful Dance of the Blessed Spirits, coupled with the eternally beautiful interlude for solo flute, one of the most poignant and memorable of all of Gluck's melodies, becomes the centerpiece of the suite. The suite concludes with two excerpts from the opera Armide, a Musette and a Sicilienne.

Exec Chef for Roganic, Aulis & The Baker and the Bottleman has an impressive CV with experience from some of the most famous restaurants in the world such as The Fat Duck, Eleven Madison Park and Maaemo in Oslo.  Oli who was also on The Great British Menu 2021, set the record for the highest number of points ever scored on the show!       This brilliant and extremely talented chef chats to me about his career, what inspires him and cooking for Heston Blumenthal. Please feel free to leave your comments once you've had a listen - i'd love to know your thoughts :)

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Euripides (born c. 484 BC, Athens—died 406 BC, Macedonia) was a Greek playwright. With Aeschylus and Sophocles, he is recognized as one of Athens's three great tragic dramatists. An associate of the philosopher Anaxagoras, he expressed his questions about Greek religion in his plays. Beginning in 455, he was repeatedly chosen to compete in the dramatic festival of Dionysus; he won his first victory in 441. He competed 22 times, writing four plays for each occasion. Of his 92 plays, about 19 survive, including Medea (431), Hippolytus (428), Electra (418), The Trojan Women(415), Ion (413), Iphigenia at Aulis (406), and The Bacchae (406). Many of his plays include prologues and rely on a deus ex machina. Unlike Aeschylus and Sophocles, Euripides made his characters' tragic fates stem almost entirely from their own flawed natures and uncontrolled passions. In his plays chance, disorder, and human irrationality and immorality frequently result in apparently meaningless suffering that is looked on with indifference by the gods.From https://www.britannica.com/summary/Euripides. For more information about Euripides:“Euripides - Perseus Collection”: http://www.perseus.tufts.edu/hopper/collection?collection=Perseus%3Acorpus%3Aperseus%2Cauthor%2CEuripides“Hippolytus”: https://chs.harvard.edu/primary-source/euripides-hippolytus-sb/

Jakso käsittelee 53-vuotiaan Aulis Käkelän katoamista vuodelta 2006. Mitä tapahtui elokuisena aamuna Käyrämössä? Mikä oli pihapiirissä käyneen henkilöauton vierailun tarkoitus ja liittyikö se Auliksen katoamiseen? Mistä johtui Auliksen pelko, jota hän sisarusten mukaan koki ennen katoamistaan? - Näitä, sekä monia muita kysymyksiä pohdin jaksossa, jättämättä mitään puolta varjoon.Musiikki ja äänisuunnittelu: Tuomo HokkaPodcastin instagram: @varjotonpodcastPodcastin sähköpostiosoite: varjotonpodcast@gmail.comLähteet:https://yle.fi/aihe/artikkeli/2010/07/29/kadonneet-aulis-kakelahttp://vintti.yle.fi/ohjelmat.yle.fi/poliisitv/etsimme_kadonneita/aulis_kakela.htmlhttps://www.is.fi/kotimaa/art-2000005179118.htmlhttps://keskustelu.suomi24.fi/t/9204912/aulis-kakela-https://fi.wikipedia.org/wiki/Rovaniemen_maalaiskuntahttps://www.murha.info/rikosfoorumi/viewtopic.php?f=7&t=4760https://www.lapinkansa.fi/20-vuoden-aikana-lapissa-viisi-henkiloa-on-jaanyt/170213

Some believe Eurpides' play ends with Iphigenia walking to her sacrifice, but there's an epilogue that may or may not have been written by the tragedian.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Iphigenia at Aulis, versions translated by Coleridge and Cecelia Eaton Lushnig; Earth Greek Myths by Timothy Gantz; Theoi.com. Special thanks to Ash Strain for their help researching this episode! Follow Ash on Twitter: @ashstrain_.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

The Greeks weren't able to sail for Troy but for the sacrifice of Agamemnon's eldest daughter, Iphigenia. Part three of Euripides's tragedy retelling Iphigenia's fate.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Iphigenia at Aulis, versions translated by Coleridge and Cecelia Eaton Lushnig; Earth Greek Myths by Timothy Gantz; Theoi.com. Special thanks to Ash Strain for their help researching this episode! Follow Ash on Twitter: @ashstrain_.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

The Greeks weren't able to sail for Troy but for the sacrifice of Agamemnon's eldest daughter, Iphigenia. Part two of Euripides's tragedy retelling Iphigenia's fate.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Iphigenia at Aulis, versions translated by Coleridge and Cecelia Eaton Lushnig; Earth Greek Myths by Timothy Gantz; Theoi.com. Special thanks to Ash Strain for their help researching this episode! Follow Ash on Twitter: @ashstrain_.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

The Greeks weren't able to sail for Troy but for the sacrifice of Agamemnon's eldest daughter, Iphigenia. Even for Agamemnon, this one's particularly dark and Euripides's tragedy retelling Iphigenia's fate is the best way to tell her story.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Iphigenia at Aulis, versions translated by E. Coleridge and Cecelia Eaton Lushnig (quotes from Luschnig); Earth Greek Myths by Timothy Gantz; Theoi.com. Special thanks to Ash Strain for their help researching this episode! Follow Ash on Twitter: @ashstrain_.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

Liv speaks with Vanessa Stovall about studying depictions of hair in myth and tragedy of the Classical world, the intricacies of myth and tragedy broadly, and a healthy dose of why Apollo isn't all that. You can follow Vanessa on twitter here, read her Corona Borealis publication on Medium here, and watch the Barnard/Columbia production of Iphigenia at Aulis here.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

Annemieke Bosman spreekt actrice Janni Goslinga over Age of Rage van Toneelgroep Amsterdam. In Age of Rage vertelt Ivo van Hove een oerverhaal van hoe wraak opeenvolgende generaties achtervolgt en ten gronde richt. Deze voorstelling sluit aan bij eerdere grootschalige maatschappelijke producties als Romeinse tragedies en Kings of war. Dit keer is de geschiedenis van de Trojaanse oorlog en de koninklijke Atridenfamilie het vertrekpunt. Ifigeneia in Aulis, Trojaanse Vrouwen, Hekabe, Agamemnon, Elektra en Orestes worden gemonteerd tot een doorlopend verhaal. Age of Rage laat de mechanismen, onontkoombaarheid en uitzichtloosheid zien van een cirkel van geweld.

Ensemble member Sandra Marquez sits down with Cliff Chamberlain for this insightful and inspiring conversation. Marquez shares stories from her singular childhood in the Central Valley of California, and reflects on her journey in Chicago theatre—and how she hopes to make it easier for the next generation of actors. Plus, Marquez talks about her legendary performances as Clytemnestra, and what it was like to play that single role over the course of four years and three productions. Interview begins at 3:43.Sandra Marquez joined the Steppenwolf Theatre Company ensemble in 2016, where her acting credits include: Nora in A Doll’s House, Part 2, The Roommate, The Doppelgänger (an international farce), Mary Page Marlowe, The Motherf**ker with the Hat, A Streetcar Named Desire, Sonia Flew and One Arm. Directing credits at Steppenwolf include La Ruta and I Am Not Your Perfect Mexican Daughter. At Teatro Vista, where she is a longtime company member and former Associate Artistic Director, she directed Fade, My Mañana Comes, Breakfast Lunch & Dinner and Our Lady of the Underpass. She is the recipient of a Jeff Award for her work in Teatro Vista’s A View from the Bridge. Marquez completed a three-year arc playing Clytemnestra in Court Theatre’s Iphigenia Cycle (Iphigenia at Aulis, Electra and Agamemnon).Learn more at Steppenwolf.orgWant to get in touch? Email halfhour@steppenwolf.orgA transcript of this episode can be found HERE

Just as Charles Dickens died before he finished writing The Mystery of Edwin Drood, Euripides died before he finished Iphigenia at Aulis. But unlike Dickens, Euripides had a descendant to finish the writing for him. To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization. If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content. References “A Short Analysis of Euripides' Iphigenia at Aulis.” Interesting Literature, https://interestingliterature.com/2017/02/a-short-analysis-of-euripides-iphigenia-at-aulis/. Accessed 17 Feb 2021. “Iphigenia at Aulis – Euripides | Play Summary & Analysis | Sacrifice of Iphigenia – Classical Literature". Ancient Literature, https://www.ancient-literature.com/greece_euripides_iphigenia_aulis.html. Accessed 17 Feb 2021. Euripides. “Iphigenia at Aulis.” Ten Plays. Translated by Paul Roche, Signet Classics, 1998, pp. 215-275. Tanner, Alexandra. "Iphigenia at Aulis." LitCharts. LitCharts LLC, 6 Feb 2020. Web. 18 Feb 2021. Wasson, Donald L. "Iphigenia in Aulis." Ancient History Encyclopedia. Ancient History Encyclopedia, 11 Dec 2018. Web. 16 Feb 2021. --- Send in a voice message: https://anchor.fm/bethany-banner/message Support this podcast: https://anchor.fm/bethany-banner/support

Liv speaks with Aimee Hinds about the intricacies of Clytemnestra's story and how storytellers and reception over millennia has affected the understanding of this powerful Spartan woman. Follow Aimee Hinds on Twitter, here and check out her incredible Etsy shop here.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources referred to: Aeschylys's Oresteia, Sophocles' Electra, Euripides' Orestes and Electra (ie, all the stories of the death of Agamemnon and Clytemnestra); Euripides' Iphigenia at Aulis. For episodes covering Clytemnestra's story, refer to those on the Oresteia primarily, plus some early Trojan War and Atreidae Curse.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

Juhatas Joel Aulis, jutlus Urmas Viilma Alliansspalvenädala Jumalateenistus EMK Tallinna koguduses 17.01.2021 Pühapäev Ülista (CC) Avalikuks ja kommertskasutuseks küsida luba

Inspiring award-winning performances from your talent: Crossover applications to business leadership from the theatrical development process with Charles Newell, Artistic Director of Court Theatre in Chicago A CEO’s Virtual Mentor Episode 24   Welcome to Episode 24, Season 5, of the Leadership Lyceum: A CEO's Virtual Mentor®. I'm joined in the program today by Charles Newell, the Marilyn F. Vitale Artistic Director of the renowned and critically acclaimed Court Theatre in Chicago. This interview was recorded in the summer of 2019 as the Court Theatre's production of the play, The Adventures of Augie March, had completed its record-breaking performance run. We had intended to publish this episode early this year in 2020, but COVID hit and it seemed a little bold to put this out at the early stage of the pandemic. The world had other pressing items that deserved attention. But now, in the middle of the holiday season, we've been without live theater and entertainment for nine months, we thought this interview might be not only informative, but also soothing at this stage of the pandemic.   This interview is timeless and gets deep into a theatrical production's creative process as seen through the mind's eye of the director. In general, we, as an audience of entertainment, be it sports or the performing arts, are often spoiled with the perfection and professionalism of the finished product. But what is involved or required from a leadership perspective to develop and burnish the performance into the form to which we are also accustomed? What goes on in the business of theater has crossover applications to all business leaders. We'll cover a wide range of topics in today's program. We'll outline the organizational form of the Court Theatre, including its governance, funding and management structure. But the majority of our time will be spent stepping through the phases of the creation of a production from script selection to closing night.   Program Guide A CEO’s Virtual Mentor Episode 24 Inspiring award-winning performances from your talent with Charles Newell, Artistic Director of Court Theatre in Chicago 0:00     Introduction to the program and Charles Newell, Artistic Director of the Court Theatre in Chicago 3:20     Court Theatre’s history, governance structure, funding sources and unique structure with the University of Chicago. 5:09     Achieving high caliber of performances on a smaller budget than peers theater companies in Chicago 7:25     Unique mission and social-societal outcomes of Court Theatre in the realm of national theater. 10:39   Break 1 11:19   Phase 1 of the Theatrical Development Process: Finding and developing a script. 17:11   Break 2 17:27   Phase 2 of the Theatrical Development Process: Developing the look and feel of the production. Revealing the collaborative creative process. 25:01   Break 3 25:35   Phase 3 of the Theatrical Development Process: The Casting Process. Dealing with barriers and constraints. 32:45   Break 4 34:51   Phase 4 of the Theatrical Development Process: Production development, rehearsal, and refinement. Inspiring and motivating actors to perform at their best. 39:20   Break 5 39:46   Phase 5 of the Theatrical Development Process: The arc of production and performance evolution from opening night to closing night. Keeping a production evolving and improving in the absence of continuous rehearsals. 49:33   Break 6 50:03   Retrospective self-reflection on the evolution of a theater director. 55:06   Conclusion and coming attractions.   We would like to express our special thanks to the clients of Lyceum Leadership Consulting that enable us to bring you this podcast. Thanks for listening.  We can’t improve without your feedback – write us through our website www.LeadershipLyceum.com and subscribe wherever you listen to your podcasts.  See you next time.   Informative and Helpful Links   https://www.courttheatre.org/ http://manualcinema.com/   Biographies of Guests Mr. Charles Newell Charles Newell is the Marilyn F. Vitale Artistic Director of Court Theatre. He was awarded the SDCF Zelda Fichandler Award, “which recognizes an outstanding director or choreographer who is transforming the regional arts landscape through singular creativity and artistry in theatre.” Charlie has been Artistic Director at Court Theatre since 1994, where he has directed over 50 productions. He made his Chicago directorial debut in 1993 with The Triumph of Love, which won the Joseph Jefferson Award for Best Production. Charlie’s productions of Man of La Mancha and Caroline, or Change have also won Best Production Jeffs. Other directorial highlights at Court include All My Sons, The Hard Problem,  Man in the Ring; One Man, Two Guvnors; Satchmo at the Waldorf; Agamemnon; The Secret Garden; Iphigenia in Aulis; M. Butterfly; The Misanthrope; Tartuffe; Proof; Angels in America; An Iliad; Porgy and Bess; Three Tall Women; Titus Andronicus; Arcadia; Uncle Vanya; Raisin; The Glass Menagerie; Travesties; Who’s Afraid of Virginia Woolf?; The Invention of Love; and Hamlet. Charlie has also directed at Goodman Theatre (Rock ‘n’ Roll), Guthrie Theater (The History Cycle, Cymbeline), Arena Stage, John Houseman’s The Acting Company (Staff Repertory Director), the California and Alabama Shakespeare Festivals, Juilliard, and New York University. He has served on the Board of TCG, as well as on several panels for the NEA. Opera directing credits include Marc Blitzstein’s Regina (Lyric Opera), Rigoletto (Opera Theatre of St. Louis), Don Giovanni and The Jewel Box (Chicago Opera Theater), and Carousel (Glimmerglass). Charlie was the recipient of the 1992 TCG Alan Schneider Director Award, and has been nominated for 16 Joseph Jefferson Director Awards, winning four times. In 2012, Charlie was honored by the League of Chicago Theatres with its Artistic Achievement Award.   Your host Thomas B. Linquist is the Founder and Managing Director of Lyceum Leadership Consulting and Lyceum Leadership Productions. Over his 15 years in management and leadership consulting he has served a wide array of corporate clients.  This includes leadership assessment and search for chief executive officers, chief financial officers, chief operating officers and boards of directors.  He holds an MBA from the University of Chicago and over his 30-year career has served in a variety of roles: as an engineer with Shell Oil Company, a banker with ABN AMRO Bank, and as treasurer was the youngest corporate officer in the 150+ year history at Peoples Energy Company in Chicago.  He is an expert on hiring and promotion decisions and leadership development.  Over the course of his search career, he has interviewed thousands of leaders. Thanks for listening.  We can’t improve without your feedback – write us through our website www.LeadershipLyceum.com and subscribe wherever you listen to your podcasts.  Please rate us and spread the word among your fellow executives and board colleagues.   Program Disclaimer The only purpose of the podcast is to educate, inform and entertain. The information shared is based on the collection of experiences of each of the guests interviewed and should not be considered or substituted for professional advice. Guests who speak in this podcast express their own opinions, experience and conclusions, and neither The Leadership Lyceum LLC nor any company providing financial support endorses or opposes any particular content, recommendation or methodology discussed in this podcast.   Follow Leadership Lyceum on: Our website: www.LeadershipLyceum.com LinkedIn: The Leadership Lyceum LLC Twitter: @LeaderLyceum https://twitter.com/LeaderLyceum Email us: info@LeadershipLyceum.com   Thanks for listening.  We can’t improve without your feedback – write us through our website www.LeadershipLyceum.com and subscribe wherever you listen to your podcasts.  Please rate us and spread the word among your fellow executives and board colleagues.  This podcast Leadership Lyceum: A CEO’s Virtual Mentor has been a production of The Leadership Lyceum LLC. Copyright 2020. All rights reserved.

This week, we take a trip to the Underworld as we read the Greek-Mythology-inspired After Aulis, written by Aly Kantor. Many years after their fateful and unfortunate meeting at Aulis, the war hero Achilles and his almost-bride Iphigenia are reunited in the Underworld, where their roles before the war have been reversed, and they discuss what it truly means to be immortal. Aly talks about leaving behind a legacy, what it means to be an writer/educator/actor, and why All in the Timing is the greatest one act play collection of all time (and Jackson agrees). Detours: Black Christmas (HBO Max, the 2019 remake), Borat Subsequent Moviefilm (Amazon Prime) Contact Aly Kantor: aly.kantor@gmail.com Writing, acting, and music submissions: tglsubmit@gmail.com Become one of our producers on Patreon! https://www.patreon.com/thegreenlight Make a one-time donation on PayPal at tglsubmit@gmail.com! Check out our new show, Who is that? The Masked Singer Podcast: https://podcasts.apple.com/us/podcast/who-is-that-the-masked-singer-podcast/id1531834551 Check out our YouTube channel with both of our shows, J&L Closet Pods: https://www.youtube.com/channel/UCUY4LtkBlJSmI5Hzbi0JiPQ Follow us on social media at @tgl_pod on Instagram and Twitter and @greenlightpod on Facebook! Follow Lauren on Instagram and Twitter: @hunkeleberry Follow Jackson on Instagram and Twitter: @j_woodward_c

Grandstanding: The Use and Abuse of Moral Talk by: Justin Tosi, Brandon Warmke The Master and His Emissary: The Divided Brain and the Making of the Western World by: Iain McGilchrist The Hour Between Dog and Wolf: Risk Taking, Gut Feelings and the Biology of Boom and Bust by: John Coates Peace Talks (The Dresden Files, #16) by: Jim Butcher Euripides V: Bacchae, Iphigenia in Aulis, The Cyclops, Rhesus by: Euripides Cutting for Stone by: Abraham Verghese How Should We Then Live? The Rise and Decline of Western Thought and Culture by: Francis A. Shaeffer 

In this episode, Adam and Budi speak with their collaborator, playwright Steven Gaultney. Steven Gaultney is a Brooklyn-based playwright. His plays include Negligence (The Theatre of Others), Adam’s Dream, and adaptations of Aeschylus’ Oresteia, Seneca’s Thyestes, Euripides’ Iphigenia in Aulis, Shakespeare’s Antony and Cleopatra, and Grimms’ Fairy Tales. His work has been produced and/or developed by Chautauqua Theatre Company, Columbia University, LASALLE College of the Arts, New York Theatre Workshop, The Theatre of Others, and the undergroundzero festival. Steven is a graduate of Columbia University’s M.F.A. in Playwriting program and has benefitted from the mentorship of Edward Bond and Charles Mee, among many others. He’s been a remote resident playwright for The Theatre of Others since 2011. Mentioned in this episode:Matthew WilsonCrossfit SingaporeSara KaneSam ShepardHoward BarkerJackie Sibblies DrurySuzan-Lori ParksMaria Irene FornesAdrienne KennedyAugust WilsonJeremy O HarrisBrendan Jacob-JenkinsAleshea HarrisSoho RepPlaywrights HorizonsDominique MorrisseauLynn NottageThe KilroysWar and Peace by TolstoyMaya AngelouThe Crucible directed by Ivo van HoveThe Bacchae by EuripidesJoseph CampbellQui NguyenTo submit a question, please visit http://www.speakpipe.com/theatreofothers for voice recording or submit an email to podcast@theatreofothers.com Messages may be quoted by name unless the writer stipulates otherwiseIf you enjoyed this week´s podcast, we´d love for you to leave a review on Apple Podcasts. It helps with our visibility, and the more people listen to the podcast, the more we can invest in it and make it even betterMusic credit: https://www.purple-planet.comhttp://www.theatreofothers.com

This time out, the guys discuss M.R. Carey’s short story “Iphigenia in Aulis,” which was adapted into both the book and movie The Girl With All The Gifts. Rankings!: Colin: Short Story, Book, Movie James: Short Story/Book, Movie Seth: Book, Movie, Short Story Notes: Not XKCD but a good comic nonetheless about “All Lives Matter”:

This time out, the guys discuss M.R. Carey’s short story “Iphigenia in Aulis,” which was adapted into both the book and movie The Girl With All The Gifts. Rankings!: Colin: Short Story, Book, Movie James: Short Story/Book, Movie Seth: Book, Movie, Short Story Notes: Not XKCD but a good comic nonetheless about “All Lives Matter”:

Welcome to the second part of our discussion of Euripides’ The Trojan Women here on The Literary Life podcast. This week Angelina, Cindy and Thomas really get into the meat of the play. If you missed last week’s introduction episode, you will want to go back and listen to that first to set the stage, so to speak. Cindy and Angelina talk about how much emotion is evoked by Euripides’ portrayal of these women and their situation. Thomas brings in some of the surrounding myths that connect to the characters in this play, as well. Angelina and Cindy highlight the characteristics of Hecuba and Andromache amidst such trying circumstances. In discussing Helen’s role in the play, Cindy mentions a short story C. S. Lewis wrote about Helen of Troy called “After Ten Years.” It can be found in The Dark Tower: and Other Stories and Of Other Worlds: Essays and Stories. Our hosts share their emotional responses to the utter heartbreak of the mothers on top of the demise of Troy itself. (Amazon affiliate links are used in this content.) Commonplace Quotes: There are decades where nothing happens, and weeks where decades happen. Vladimir Lenin While affording some secrets of ‘the way of the will’ to young people, we should perhaps beware of presenting the ideas of ‘self-knowledge, self-reverence, and self-control.’ All adequate education must be outward bound, and the mind which is concentrated upon self-emolument, even though it be the emolument of all the virtues, misses the higher and the simpler secrets of life. Duty and service are the sufficient motives for the arduous training of the will that a child goes through with little consciousness. Charlotte Mason Perhaps the surest measure of O’Connor’s sense of calling was her willingness to be misunderstood. Jonathan Rogers All the World’s a Stage by William Shakespeare All the world’s a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages. At first the infant, Mewling and puking in the nurse’s arms; And then the whining school-boy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow. Then a soldier, Full of strange oaths, and bearded like the pard, Jealous in honour, sudden and quick in quarrel, Seeking the bubble reputation Even in the cannon’s mouth. And then the justice, In fair round belly with good capon lin’d, With eyes severe and beard of formal cut, Full of wise saws and modern instances; And so he plays his part. The sixth age shifts Into the lean and slipper’d pantaloon, With spectacles on nose and pouch on side; His youthful hose, well sav’d, a world too wide For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion; Sans teeth, sans eyes, sans taste, sans everything. Book List: The Trojan Women by Euripides Towards a Philosophy of Education by Charlotte Mason The Terrible Speed of Mercy by Jonathan Rogers As You Like It by William Shakespeare Agamemnon by Aeschylus Iphigenia in Aulis by Euripedes The Illiad by Home The Aeneid by Virgil The Trojan Women (film) starring Katharine Hepburn The Dark Tower: and Other Stories by C. S. Lewis Of Other Worlds: Essays and Stories by C. S. Lewis Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at https://www.facebook.com/ANGStanford/ Find Cindy at https://cindyrollins.net, on Instagram @cindyordoamoris and on Facebook at https://www.facebook.com/cindyrollins.net/. Check out Cindy’s own Patreon page also! Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let’s get the book talk going! http://bit.ly/literarylifeFB

Episode Four of Lucretius Today is devoted to a review of what we have read so far, with special emphasis toward explaining how Epicurus was both a vigorous opponent of supernatural religion, while at the same time using himself the word "gods" to refer to true nature of what a divine being would be like if we happened some time in the future to fly out into space and come across one. Whatever else you may end up concluding about Epicurus' view of divine beings, we know for certain that Epicurus held that true divine beings are not supernatural; they did not create the universe, they do not control the universe, and they do not intervene in any way at all in the affairs of human beings.Whether you think the Epicurean theory of divine beings is interesting and helpful, or whether you it is irrelevant because they have no concern or connection with us, just keep in mind that whenever an ancient Epicurean referred to gods, we know for sure that those gods were nothing like Yahweh, or Jehovah, or Jesus, or Allah, or any of the standard definition of gods we use today.The part of the poem we have read so far from the 1743 Daniel Browne edition is as follows:MOTHER of Rome, Delight of Men and Gods, Sweet Venus; who with vital power does fill the sea bearing the ships, the fruitful Earth, all things beneath the rolling signs of Heaven; for it is by Thee that creatures of every kind conceive, rise into life, and view the Sun’s bright beams. Thee, Goddess, Thee the winds avoid; the clouds fly Thee and Thy approach. With various art the Earth, for Thee, affords her sweetest flowers; for Thee the sea’s rough waves put on their smiles, and the smooth sky shines with diffused light. For when the buxom Spring leads on the year, and genial gales of western winds blow fresh, unlocked from Winter’s cold, the airy birds first feel Thee, Goddess, and express thy power. Thy active flame strikes through their very souls. And then the savage beasts, with wanton play, frisk over the cheerful fields, and swim the rapid streams. So pleased with thy sweetness, so transported by thy soft charms, all living Nature strives, with sharp desire, to follow Thee, her Guide, where Thou art pleased to lead. In short, Thy power, inspiring every breast with tender love, drives every creature on with eager heat, in seas, in mountains, in swiftest floods, in leafy forests, and in verdant plains, to propagate their kind from age to age.Since Thou, alone, doest govern Nature’s laws, and nothing, without Thee, can rise to light, without Thee nothing can look gay or lovely; I beg Thee a companion to my lays, which now I sing of Nature, and I devote to my dear Memmius, whom Thou art ever pleased, sweet Goddess, to adorn with every grace. For him, kind Deity, inspire my song, and give immortal beauty to my verse. Meantime, the bloody tumults of the war, by sea and land, compose, and lay asleep. For Thou, alone, mankind, with quiet peace, canst bless; because it is Mars Armipotent that rules the bloody tumults of the war, and He, by everlasting pains of love, bound fast, tastes in Thy lap most sweet repose, turns back his smooth long neck, and views thy charms, and greedily sucks love at both his eyes. Supinely, as he rests, his very soul hangs on thy lips. This God, dissolved in ease, in the soft moments when thy heavenly limbs cling round him, melting with eloquence, caress, great Goddess, and implore a peace for Rome.For neither can I write with cheerful strains, in times so sad, nor can the noble House of Memmius desert the common good in such distress of things. The hours you spare, apply with close attention to my verse, and, free from care, receive true reason’s rules; nor these my gifts, prepared with faithful pains, reject with scorn before they are understood. For I begin to write of lofty themes, of Gods, and of the motions of the sky, the rise of things, how all things Nature forms, and how they grow, and to perfection rise, and into what, by the same Nature’s laws, those things resolve and die; which as I write I call by various names; sometimes it is matter, or the first principles, or seeds of things, or first of bodies, whence all else proceed.For the whole nature of the Gods must spend an Immortality in softest peace, removed from our affairs, and separated by distance infinite; from sorrow free; secure from danger; in its own happiness sufficient, and nothing of ours can want, is neither pleased with good, nor vexed with evil.Indeed mankind, in wretched bondage held, lay groveling on the ground, galled with the yoke of what is called Religion; from the sky this tyrant shewed her head, and with grim looks hung over us, poor mortals, here below; until a man of Greece, with steady eyes, dared look her in the face, and first opposed her power. Him not the fame of Gods, nor thunder’s roar, kept back, nor threatening tumults of the sky; but still the more they roused the active virtue of his aspiring soul, as he pressed forward, first to break through Nature's scanty bounds. His mind’s quick force prevailed; and so he passed by far the flaming limits of this world, and wandered with his comprehensive soul over all the mighty space; from thence returned, triumphant; told us what things may have a being, and what cannot; and how a finite power is fixed to each; a bound it cannot break. And so Religion, which we feared before, by him subdued, we tread upon in turn. His conquest makes us equal to the Gods.But in these things, I fear, you will suspect you are learning impious rudiments of reason, and entering in a road of wickedness. So, far from this, reflect what sad flagitious deeds Religion has produced. By her inspired, the Grecian chiefs, the first of men, at Aulis, Diana’s altar shamefully defiled with Iphigenia’s blood; her virgin hair a fillet bound, which hung in equal length on either side of her face. She saw her father, covered with sorrow, stand before the altar; for pity to his grief the butchering priests concealed the knife. The city, at the sight, overflowed with tears; the virgin, dumb with fear; fell low upon her knees on the hard Earth; in vain the wretched princess in distress pleaded that she first gave the honored name of Father to the King; but hurried off, and dragged by wicked hands, she, trembling, stood before the altar. Alas! not as a virgin, the solemn forms being duly done, drawn with pleasing force to Hymen’s noble rites, but a chaste maid, just ripe for nuptial joy, falls a sad victim, by a father’s hand, only to beg a kind propitious gale for Grecian ships. Such scenes of villainy Religion could inspire!

The text that will be covered in Episode Three appears beginning at approximately line 81 of the Latin edition of Book One.1743 Daniel Browne Version: But in these things, I fear, you will suspect you are learning impious rudiments of reason, and entering in a road of wickedness. So, far from this, reflect what sad flagitious deeds Religion has produced. By her inspired, the Grecian chiefs, the first of men, at Aulis, Diana’s altar shamefully defiled with Iphigenia’s blood; her virgin hair a fillet bound, which hung in equal length on either side of her face. She saw her father, covered with sorrow, stand before the altar; for pity to his grief the butchering priests concealed the knife. The city, at the sight, overflowed with tears; the virgin, dumb with fear; fell low upon her knees on the hard Earth; in vain the wretched princess in distress pleaded that she first gave the honored name of Father to the King; but hurried off, and dragged by wicked hands, she, trembling, stood before the altar. Alas! not as a virgin, the solemn forms being duly done, drawn with pleasing force to Hymen’s noble rites, but a chaste maid, just ripe for nuptial joy, falls a sad victim, by a father’s hand, only to beg a kind propitious gale for Grecian ships. Such scenes of villainy Religion could inspire!Munro Version: This is what I fear herein, lest haply you should fancy that you are entering on unholy grounds of reason and treading the path of sin; whereas on the contrary often and often that very religion has given birth to sinful and unholy deeds. Thus in Aulis the chosen chieftains of the Danai, foremost of men, foully polluted with Iphianassa’s blood the altar of the Trivian maid. Soon as the fillet encircling her maiden tresses shed itself in equal lengths down each cheek, and soon as she saw her father standing sorrowful before the altars and beside him the ministering priests hiding the knife and her countrymen at sight of her shedding tears, speechless in terror she dropped down on her knees and sank to the ground. Nor aught in such a moment could it avail the luckless girl that she had first bestowed the name of father on the king. For lifted up in the hands of the men she was carried shivering to the altars, not after due performance of the customary rites to be escorted by the clear-ringing bridal song, but in the very season of marriage, stainless maid mid the stain of blood, to fall a sad victim by the sacrificing stroke of a father, that thus a happy and prosperous departure might be granted to the fleet. So great the evils to which religion could prompt!Bailey Version: Herein I have one fear, lest perchance you think that you are starting on the principles of some unholy reasoning, and setting foot upon the path of sin. Nay, but on the other hand, again and again our foe, religion, has given birth to deeds sinful and unholy. Even as at Aulis the chosen chieftains of the Danai, the first of all the host, foully stained with the blood of Iphianassa the altar of the Virgin of the Cross-Roads. For as soon as the band braided about her virgin locks streamed from her either cheek in equal lengths, as soon as she saw her sorrowing sire stand at the altar’s side, and near him the attendants hiding their knives, and her countrymen shedding tears at the sight of her, tongue-tied with terror, sinking on her knees she fell to earth. Nor could it avail the luckless maid at such a time that she first had given the name of father to the king. For seized by men’s hands, all trembling was she led to the altars, not that, when the ancient rite of sacrifice was fulfilled, she might be escorted by the clear cry of ‘Hymen’, but in the very moment of marriage, a pure victim she might foully fall, sorrowing beneath a father’s slaughtering stroke, that a happy and hallowed starting might be granted to the fleet. Such evil deeds could religion prompt.

Avsnitt 3. Simon och Erik ska läsa alla världens klassiker. Till detta avsnittet har de läst tre tragedier skrivna av Aiskylos. Agamemnon, Gravoffret och Euminiderna. Även Ifugenia i Aualis (obs inte skriven av Aiskylos utan Euripides)gås igenom eftersom den verkar vara den stora Prequelen till allt de hittills har läst. Precis som i de två…

Avsnitt 3. Simon och Erik ska läsa alla världens klassiker. Till detta avsnittet har de läst tre tragedier skrivna av Aiskylos. Agamemnon, Gravoffret och Euminiderna. Även Ifugenia i Aualis (obs inte skriven av Aiskylos utan Euripides)gås igenom eftersom den verkar vara den stora Prequelen till allt de hittills har läst. Precis som i de två…

6:38 Defining terms: compatibilism, semi-compatibilism, determinism, libertarianism 46:50 Moral responsibility 1:02:30 Reasons responsiveness 1:20:07 Sociopathy and the amydala 1:24:30 The sorites paradox (the paradox of the heap) 1:36:15 What does it mean to have control? 1:52:05 Rights forfeiture theory, criminal punishment and free will 2:29:30 How did the three of us arrive at our respective positions? For the original discussion on Letter, see: https://letter.wiki/conversation/54. For my article on the discussion see: https://areomagazine.com/2019/07/28/on-free-will-a-letter-exchange For Ben Burgis’ responses, see: https://areomagazine.com/2019/08/02/free-will-and-sam-harris-puppet-analogy-a-reply-to-iona-italia/ And https://areomagazine.com/2019/10/08/free-will-the-libet-experiments-and-the-war-on-terror/ Join Jon Rosen’s discussion group on Facebook: https://www.facebook.com/groups/1750878868488774/ Follow Ben Burgis on Twitter @BenBurgis Follow Jon Rosen on Twitter @rosenbaier Additional References For Frankfurt cases: https://plato.stanford.edu/entries/compatibilism/ Gagandeep Singh: https://www.hindustantimes.com/dehradun/i-was-just-doing-my-duty-says-cop-who-saved-muslim-youth-s-life/story-CB1NP0uP1vz34NsV12bjGK.html Pereboom’s four case argument: https://philosophicaldisquisitions.blogspot.com/2015/01/perebooms-four-case-argument-against.html For more on John Martin Fischer: http://www.informationphilosopher.com/solutions/philosophers/fischer/ David Lewis, “The Paradox of Time Travel”: https://www.csus.edu/indiv/m/merlinos/paradoxes%20of%20time%20travel.pdf Ryan Lake, “No Fate But What We Make: A Defence of the Compatibility of Freedom and Causal Determinism”: https://pdfs.semanticscholar.org/3457/849101f0502d9ad148c0e41eddef4c50fa84.pdf Ursula K. Le Guin, “The Ones Who Walk Away from Omelas” (1973) Sam Harris, “In Defence of Profiling”: https://samharris.org/in-defense-of-profiling/ Euripides, Iphigenia in Aulis (approx. 405 BCE)

Ett samtal om Jon Fosses författarskap: att läsa Fosse, att spela Fosse, att översätta Fosse. Inspelat inför publik 19 september på Elverket Möt Leif Zern (kritiker), Marie Lundquist (översättare), Berit Gullberg (förläggare) och Stina Ekblad (skådespelare) i ett initierat samtal om Fosses dramatik. Moderator Irena Kraus (dramaturg). I år fyller den norske dramatikern Jon Fosse 60 år. Han är ansedd som en av den nutida dramatikens främsta författare och är flitigt översatt till en lång rad språk. Dramaten har spelat flera av hans pjäser, och just nu är han aktuell med sin version av Euripides Ifigenia i Aulis i regi av Nadja Weiss.

Med inspiration från tidig renässans och medeltid, skapade prerafaeliterna konst som var motsägelsefull på många sätt. Hur kunde den rymma religiositet, radikala idéer, sex och natur på samma gång? På Prins Eugens Waldemarsudde i Stockholm har det i helgen öppnat en ny utställning, "Edward Burne-Jones Prerafaeliterna och Norden". Det är den första utställningen i Skandinavien med konst och design av konstnären Edward Burne-Jones, som var elev till en av en förgrundsgestalterna bland prerafaeliterna, Dante Gabriel Rossetti. Burne-Jones fick inflytande i Norden, både med sin konst och den roll han hade inom Arts and crafts-rörelsen. Konstnären Helena Blomqvist, som inspirerats av Prerafaeliterna, kommer till studion tillsammans med P1 Kulturs konstkritiker Cecilia Blomberg för ett samtal om en tämligen udda, men fantasieggande konstströmning. Det har varit stor premiärhelg på de svenska teaterscenerna och P1 Kultur har varit på Göteborgs stadsteater, där vår kritiker Mia Gerdin har sett Eugene ONeills familjedrama "Långdags färd mot natt" i regi av Emil Graffman. Dessutom har teaterkritikern Jenny Teleman varit på Dramaten - hela två nya uppsättningar: Arthur Millers Häxjakten med Alexander Mørk-Eidem som regissör, samt Nadja Weiss som satt upp Jon Fosses version av Euripides tragedi Ifigenia i Aulis. Inga nya kulturreservat och mindre än hälften så många nya byggnadsminnen som tidigare. Det kan vår reporter Joakim Silverdal berätta om i dagens reportage om läget när det gäller bevarandet av landets kulturmiljö. I exempelvis Västerbottens län får vi backa tre år i tiden för att hitta det senaste byggnadsminnet ett gammalt bönhus i byn Missenträsk. Och så till sist en OBS-essä och är det latinisten och skribenten Martina Björk som läst Ingvar Björkesons Ovidius-tolkningar och reflekterar över skaldens ytterst medvetna jämrande, hans klagande exilpoesi har ekat genom dessa millennier och funnit nya läsare runt om världen. Men finns det inget ände på hans bitterhet? Programledare: Gunnar Bolin Producent: Maria Götselius

Dome Life with Paul On The Plane - Podcast Episode 124 Title: Marcus Allen and the Moon Hoax Dome Life on iTunes https://itunes.apple.com/us/podcast/dome-life-with-paul-on-the-plane Dome Life on SoundCloud https://soundcloud.com/domelife Dome Life on Stitcher https://www.stitcher.com/podcast/paul-on-the-plane/dome-life-with-paul-on-the-plane Dome Life on Spotify https://open.spotify.com/show/3qVzPhdmVIOCwJ1vjc0tDX NEW WEBSITE FORUM! https://www.Paulontheplane.com/Community Show Notes/Links Original airing on TFR can be heard here: https://tfrlive.com/marcus-scott-the-moon-hoax-85093/ Full Video Version on my YouTube Channel – premiered April 5, 2019: https://youtu.be/KyW6b4WM1eM Marcus Allen on Aulis site: https://www.aulis.com/allen_bis.htm Opening Track - Rockmasta Productions: https://www.youtube.com/channel/UCbFCKifrVNOFAQTI39bu5NA https://www.facebook.com/RockMasta-Productions-382510948481717 Roxanne and Robin’s Podcast https://www.stitcher.com/podcast/roxanne-and-robin-podcast/roxanne-robin-podcast Woke Town Podcast https://podtail.com/en/podcast/woketown/ Celebrate Truth on Revolution Radio – Robbie Davidson and Pastor Nate Wolfe (Fired4Truth) http://freedomslips.com/index.php/schedules/schedule-a European Flat Earth Events! Globe Lie Tour Convention (Sept 13-15, 2019) & FE Amsterdam (Sept. 27-29, 2019) https://feconvention.com/ & https://youtu.be/2CX6Gvz6JGE UK – https://feconvention.com/services/speaker-5-2/ Amsterdam - https://feconvention.com/services/speaker-2/ Mount Shasta Flat Earth Conference Sept 19-22, 2019 https://www.chamuel.solutions/flat-earth-conference-2019.html?fbclid=IwAR28xRfqN4T8FanhvY6nDJKunQz5_Rhe5nNhgppkF6YqgHg1BX7PnEOWtY4 Flat Earth International Conference – USA – November 14-15, 2019 https://flatearthconference.com/ https://flatearthconference.com/speakers/paul-on-the-plane/ Flat Earth Sun & Moon Clock App https://www.youtube.com/watch?v=5Iohmfinvpc Globe Lie Euro Tour http://www.globelie.co.uk/ GLOBE LIE EURO TOUR 2019 ANNOUNCEMENT (Jason Disbury on Roxanne and Robin’s Podcast) https://www.youtube.com/watch?v=v8Q_96h7cIg Flat Earth Music Television Hot Track of the Week Flat Earth Man – Don’t Believe in Gravity! https://www.youtube.com/watch?v=QIT_SbigQ3c Pages On The Plane Robbie Davidson’s Book – Scientism Exposed: Hiding the True Creator of Creation https://celebratetruth.org/products/copy-of-scientism-exposed-hiding-the-true-creator-of-creation

Donald Macleod explores the music, and what little is known of the life, of Baroque master Heinrich Ignaz Franz von Biber. Biber’s first appearance in the historical records is in his early 20s, when we find him in the service of Karl Liechtenstein, prince-bishop of Olomouc in central Moravia. In this week’s episode, we meet Biber as he runs an errand for his boss, but mysteriously absconds en route, trading in his old employer for a new and even more illustrious one, Prince-Archbishop Maximilian Gandolph von Küenburg. In Salzburg, Biber put down roots, married the daughter of a wealthy local businessman, fathered eleven children and gradually rose through the court ranks to become Kapellmeister. His risky career-gamble had paid off. Donald introduces us to the musical legacy the elusive composer left behind, playing Biber’s best-known work (his Mystery, or Rosary, Sonatas) as well as his music for church and stage. We also learn about his close relationships with the violin and his home of Salzburg, and the five remarkable printed collections of instrumental music that spread his name across Europe. Music featured: Missa Alleluia (Kyrie) Sonata ‘La pastorella’ Battalia a 10 (Sonata di marche) Sonata violino solo representativa Partita VI in D (Harmonia Artificioso-Ariosa) The Rosary Sonatas: The Five Joyful Mysteries Passacaglia in G minor for unaccompanied violin Vesperae longiores ac breviores, 1693 Arminio, or Chi la dura la vince (extracts) Litaniae Sancto Josepho Sonata No 11 in A (Sonatae tam Aris, quam Aulis servientes) Partita No 3 in A minor (Mensa sonoris, seu Musica instrumentalis) Sonata No 3 in F (Sonatae violino solo) Sonata No 12 in A major (Fidicinium sacro-profanum) Partita No 1 in D minor (Harmonia artificioso-ariosa) Balletti a 6 (1. Sonata) Missa Salisburgensis Sonata a 7 Sonata Sancti Polycarpi Presented by Donald Macleod Produced by Chris Barstow for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Heinrich Ignaz Franz von Biber https://www.bbc.co.uk/programmes/m0003rq6 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

At last, it's the season 9 finale, and we go out with a bang: THE KILLING OF A SACRED DEER by writer-director Yorgos Lanthimos and co-writer Efthymis Filippou is one of the most searing film experiences of the last few years. Colin Farrell, Nicole Kidman, and Barry Keoghan star in this family drama / suspense thriller / haunted house / horror film, which despite being a tough hang that no one's really sure what it's about, was also widely praised upon release in 2017. In this episode, your hosts discuss their experiences watching it a second time, the story's roots in Greek mythology, Lanthimos' cold but invigorating style, and appraise the slippery career of one Mr. Farrell. Also: RIP FilmStruck, the streaming service that was too good to live. Episode links: The Killing of a Sacred Deer on IMDb The Killing of a Sacred Deer on Wikipedia Brian Tallerico review for RogerEbert.com Anthony Lane review for The New Yorker Kevin Lincoln review for NY Mag A.O. Scott review for NY Times Iphigenia in Aulis at Wikipedia Trailer for Lanthimos' The Favourite Wired on the untimely end of FilmStruck Show links: Subscribe: Apple Podcasts Discuss: ETV Podcast Club Follow: Facebook + Twitter Archive: enterthevoid.fm

At last, it's the season 9 finale, and we go out with a bang: THE KILLING OF A SACRED DEER by writer-director Yorgos Lanthimos and co-writer Efthymis Filippou is one of the most searing film experiences of the last few years. Colin Farrell, Nicole Kidman, and Barry Keoghan star in this family drama / suspense thriller / haunted house / horror film, which despite being a tough hang that no one's really sure what it's about, was also widely praised upon release in 2017. In this episode, your hosts discuss their experiences watching it a second time, the story's roots in Greek mythology, Lanthimos' cold but invigorating style, and appraise the slippery career of one Mr. Farrell. Also: RIP FilmStruck, the streaming service that was too good to live. Episode links: The Killing of a Sacred Deer on IMDb The Killing of a Sacred Deer on Wikipedia Brian Tallerico review for RogerEbert.com Anthony Lane review for The New Yorker Kevin Lincoln review for NY Mag A.O. Scott review for NY Times Iphigenia in Aulis at Wikipedia Trailer for Lanthimos' The Favourite Wired on the untimely end of FilmStruck Show links: Subscribe: Apple Podcasts Discuss: ETV Podcast Club Follow: Facebook + Twitter Archive: enterthevoid.fm

Check out this film's posts @ MovieJeff.com here » https://themoviereviewshow.blogspot.com/2017/10/the-killing-of-sacred-deer.html and leave a comment The Killing of a Sacred Deer is a 2017 psychological thriller film directed by Yorgos Lanthimos, from a screenplay by Lanthimos and Efthymis Filippou. It stars Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy, Sunny Suljic, Alicia Silverstone, and Bill Camp. The story is based on the ancient Greek tragedy Iphigenia at Aulis by Euripides. Follow the show... @ Twitter https://twitter.com/MovieJeffDotCom @ YouTube https://www.youtube.com/channel/UCpONT6Yp423GzUrHDDqBL3g @ LetterBoxd https://letterboxd.com/jeffmovie AND, FOR AS LITTLE AS $1/MONTH » https://patreon.com/dad SUPPORT THIS SHOW AND OTHER VENTURES FROM HTTPS://WWW.MYAMERI.CA INDUSTRIES • THANK YOU --- Send in a voice message: https://anchor.fm/the-movie-review-show/message Support this podcast: https://anchor.fm/the-movie-review-show/support

In this episode, we discuss the plays of Euripides that he produced against the backdrop of the Peloponnesian War (Children of Herakles, Andromache, Hecuba, Suppliants, Electra, Madness of Herakles, Trojan Women, Iphigenia in Tauris, Ion, Helen, Phoenician Women, Orestes, and Iphigenia at Aulis, excluding the Bacchae) Show Notes: http://www.thehistoryofancientgreece.com/2017/08/053-euripides-at-war.html  

Carl Heinrich Graun: Arien aus den Opern "L'Orfeo", "Iphigenia in Aulis", "Coriolano", "Armida", "Il Mithridate", "Cilla" und "Britannico" | Concerto Köln | Leitung: Mikhail Antonenko

Melinda Kinnaman blev känd som 13-åring som pojkflickan Saga i Lasse Hallströms film Mitt liv som hund. Sedan mitten av 90-talet är hon skådespelare på scen, film och tv, med Dramaten som bas. Melinda Kinnaman är född 1971 i Stockholm och utbildad på Teaterhögskolan i Stockholm i början av 90-talet. Hon har sedan hon slutade sin utbildning arbetat på Dramaten, där hon gjort en lång rad roller. När programmet spelades in våren 2016 var hon aktuell i  Terje Vesaas Fåglarna (i regi av Ole Anders Tandberg) och i  monologen Jag vill inte dö, jag vill bara inte leva, baserad på Ann Heberleins bok. Men hon har också, för att nämna några roller, spelat Julia i Romeo och Julia, Ifigenia i Euripides drama Ifigenia i Aulis, hon har arbetat med regissörer som Christian Tomner och Mats Ek och hon var med i Lars Noréns Personkrets.  Men Melinda Kinnaman har också gjort stora roller på tv och film allra först i Lasse Hallströms Mitt liv som hund, när hon bara var 13 år. Hon har också huvudrollen TV4:s dramasatsning Modus.

THE STORY: (45 minutes) In this horrifying episode Agamemnon, Commander in Chief of the Greek’s Operation Trojan Storm, is confronted with an existential question. How badly does he want to invade Troy, and who or what is he willing to sacrifice in order to realize his plans? THE COMMENTARY: MURDER, INCEST, INFIDELITY & CANNIBALISM – AGAMEMNON’S INTERESTING FAMILY! (16 minutes; begins at 45:00) This deeply troubling episode is based on the story of the sacrifice of Iphigenia – Agamemnon’s teenage daughter. In the post-story commentary I explore how two different Athenian dramatists used the broad outlines of the well-known “Iphigenia story” to craft their own unique plays. I first look at Aeschylus’ Agamemnon (458 B.C.E.), and explain why I chose to follow his general plot outline in narrating my own account of the story. Then I turn to Euripides’ Iphigenia at Aulis (405 B.C.E.), seeking (and finding) a much happier and less horrifying account of the story I have just told. I leave you the listener to decide which of the two versions you find more compelling and believable – because of course, none of us will never know what really happened on that beach at Aulis. Finally I turn to a quick account of Agamemnon’s absolutely horrifying family: the House of Atreus. Starting with Agamemnon’s great grandfather, then down through the generations to Agamemnon himself, I recount a family predilection for murder, incest, infidelity and cannibalism. I discuss the Bronze Age belief that “the sins of the fathers are visited upon the sons” to account for the horrifying intergenerational curse of the House of Atreus. Because of my “no plot spoilers” promise, I conclude my review of the curse with Agamemnon himself, but promise listeners that in later episodes of Trojan War: The Podcast, Agamemnon’s descendants will carry on the proud family history of horrifying deeds. Jeff RELATED CONTENT IPHIGENIA by Tennyson (PDF) RELATED IMAGES

Melinda Kinnaman blev känd som trettonåring som pojkflickan Saga i Lasse Hallströms film "Mitt liv som hund". Sedan mitten av 90-talet skådespelare på scen, film och tv, med Dramaten som bas. Melinda Kinnaman är född 1971 i Stockholm och utbildad på Teaterhögskolan i Stockholm i början av 90-talet. Hon har sedan hon slutade sin utbildning arbetat på Dramaten, där hon gjort en lång rad roller. Just nu kan man se henne i Terje Vesaas Fåglarna (i regi av Ole Anders Tandberg) och snart återkommer hon också i monologen Jag vill inte dö, jag vill bara inte leva, baserad på Ann Heberleins bok. Men hon har också, för att nämna några roller, spelat Julia i Romeo och Julia, Ifigenia i Euripides drama Ifigenia i Aulis, hon har arbetat med regissörer som Christian Tomner och Mats Ek och hon var med i Lars Noréns Personkrets.  Men Melinda Kinnaman har också gjort stora roller på tv och film allra först i Lasse Hallströms Mitt liv som hund, när hon bara var 13 år, men hon har också nyligen synts i huvudrollen TV 4:s dramasatsning Modus.

Iphigenie in Aulis,Lohengrin, Siegfried, Rigoletto

Performed in Athens in the last years of the Peloponnesian War and when Athens had a democracy, Euripides’ Iphigenia in Aulis is appropriately a play about decision-making. In this lecture Dr Heather Sebo traces the dramatic events in Iphigenia in Aulis leading up to the departure of the Greek fleet for Troy. Although based on a myth, Euripides’ play has never ceased to be relevant in terms of its examination of the dilemmas and circumstances in which human beings become enmeshed. Copyright 2013 Gillian Shepherd / La Trobe University, all rights reserved. Contact for permissions.

Performed in Athens in the last years of the Peloponnesian War and when Athens had a democracy, Euripides’ Iphigenia in Aulis is appropriately a play about decision-making. In this lecture Dr Heather Sebo traces the dramatic events in Iphigenia in Aulis leading up to the departure of the Greek fleet for Troy. Although based on a myth, Euripides’ play has never ceased to be relevant in terms of its examination of the dilemmas and circumstances in which human beings become enmeshed. Copyright 2013 Gillian Shepherd / La Trobe University, all rights reserved. Contact for permissions.

Aamun vieras eskistunalainen Aulis Kytömäki voitti viime kesänä Suomen Elämäntarinayhdistyksen järjestämän kirjoituskilpailun siirtolaismuistoista. Auliksen voittajakirjoitus Pussihousut ja nahkasaappaat kertoo Ruotsiin muuton alkuvaiheista.Ruotsinsuomalaisten tarinankerronnan mestari hänestä leivottiin viime lauantaina Suomen Tukholman instituutissa järjestetyissä Tarinakilpailuissa. Arja Claesson haastattelee.

Denise Pierre performs Sept. 18, 2010 with Swing Fever at the Rrazz Room, at Hotel Nikko, 7 PM. Stanley Bennett Clay's "Armstrong's Kid" Benefit performance is SEPT. 17-19. Three times NAACP Theatre Award winning playwright, novelist, filmmaker, and actor Stanley Bennett Clay lends his talent to the fight against HIV. “Oakland's Dinner Club” in collaboration with “SMACC (Sexual Minority Alliance of Alameda”, presents Oakland's premier of “Armstrong's Kid”, starring Clay and Thandiwe Thomas DeShazor, September 17-19 at SMAAC Youth Center 1608 Webster St., Oakland California. Fri & Sat at 8 PM and Sun, SEPT 19 at 3 PM. Stanley is joined by writer activist, Jesse Brooks and Nursha Project™ artist Thandiwe Thomas DeShazor is an actor, writer and comedian originally from Detroit. Brava Theater and African-American Shakespeare Company present the US Premiere of IPH… from playwright Colin Teevan. Director Dylan Russell helms this lyrical, edgy adaptation of Euripides' Greek tragedy Iphigenia at Aulis. Set at the beginning of the Trojan War, General Agamemnon has a difficult choice to make – should he sacrifice his daughter Iphigeneia or condemn his entire army, and nation, to defeat? The gifted cast assembled for this co-production features acclaimed actor and incoming African-American Shakespeare Artistic Director L. Peter Callender, Bay Area favorite C. Kelly Wright, and up-and-coming talent Traci Tolmaire. We close with playwright Genny Lim, whose Paper Angels is up through SEPT. 17 at Portsmouth Square Park in San Francisco's Chinatown as a part of SF FRINGE, produced by NY Company DIRECT ARTS.