Podcasts about brecht

Paul Buitink gaat in gesprek met Brecht Arnaert van Safecapital over de Franse schuldencrisis, de dreiging van een crack-up boom, en de toekomst van bitcoin en goud.Brecht en Paul bespreken de politieke en schuldencrisis in Frankrijk. Volgens Brecht is het cruciaal om de ontwikkelingen daar nauwlettend te volgen. Zijn conclusie: uiteindelijk zal de euro onhoudbaar blijken. Hij vermoedt bovendien dat er bewust crises worden gecreëerd om verdere centralisatie binnen de EU mogelijk te maken. Zal deze agenda uiteindelijk slagen?Volgens Brecht leven we in geleende tijd. Goud, de traditionele veilige haven, bereikte deze week een all-time high. Kan de prijs nóg verder stijgen, of is dit voor Brecht het moment om (een deel van) zijn goud te verkopen? Hij verwacht een crack-up boom in de markt en legt uit wat dat precies betekent.Hoe kijkt Brecht naar Bitcoin? Hoe ver kan de koers nog oplopen, en vormt quantum computing een bedreiging? Welke rol spelen stablecoins, en moet je eigenlijk kiezen tussen goud en Bitcoin?Tot slot deelt hij zijn visie op de toekomst van China, de dollar en zilver. Kunnen we een periode van deflatie tegemoetzien?Bekijk de website en het evenement van Brecht: https://www.safecapital.eu/product/bz...Bekijk de aflevering met Zeberg:    • Bubble, Crash, Stagflation, Reset Unveiled...   Overweegt u om goud en zilver aan te kopen? Dat kan via de volgende website: https://bit.ly/3xxy4sYTimestamps00:00 Intro02:30 Crisis Frankrijk07:29 Eurocrisis & EU13:30 Gaat goud verder stijgen?17:37 Bitcoin, de Bubbel & Quantum Computing30:09 China & Goud40:49 Goud op de lange termijn & Zilver45:17 België, de Dollar, Deflatie & InflatieTwitter:@Hollandgold:   / hollandgold  @paulbuitink:   / paulbuitink  Let op: Holland Gold vindt het belangrijk dat iedereen vrijuit kan spreken. Wij willen u er graag op attenderen dat de uitspraken die worden gedaan door de geïnterviewde niet persé betekenen dat Holland Gold hier achter staat. Alle uitspraken zijn gedaan op persoonlijke titel door de geïnterviewde en dragen zo bij aan een breed, kleurrijk en voor de kijker interessant beeld van de onderwerpen. Zo willen en kunnen wij u een transparante bijdrage en een zo volledig mogelijk inzicht geven in de economische marktontwikkelingen. Al onze video's zijn er enkel op gericht u te informeren. De informatie en data die we presenteren kunnen verouderd zijn bij het bekijken van onze video's. Onze video's zijn geen financieel advies. U alleen kunt bepalen hoe het beste uw vermogen kunt beleggen. U draagt zelf de risico's van uw keuzes.Bekijk onze website: https://www.hollandgold.nl

Rahmlow, Axel www.deutschlandfunkkultur.de, Studio 9 - Der Tag mit ...

Diese Woche wollen wir Ihnen statt eines Was jetzt?-Spezials eine andere Folge aus dem ZEIT-Podcastuniversum ans Herz legen. Was jetzt?-Host Mounia Meiborg empfiehlt den Optimierungspodcast Geht da noch was?  Wie sage ich meiner Führungskraft, dass der Druck gerade zu groß ist? Wie feedbacke ich der Kollegin, dass sie sich bei einer Präsentation im Ton vergriffen hat? Oder auch: Wie lobe ich den Mitarbeiter so, dass er weiß, was ich beim nächsten Mal von ihm erwarte? Berufsleben bedeutet auch, ständig zu kommunizieren. In der neuen Folge des ZEIT-Optimierungspodcasts Geht da noch was? beschäftigen sich die Hosts Lisa Hegemann und Rose Tremlett mit dem Thema Feedback und erstellen einen kleinen Leitfaden. Wie bereitet man Feedback vor? Wann führt man ein Feedbackgespräch – und in welchen Situationen sollte man besser keins führen? Die Ratschläge im Podcast kommen von den Organisationsentwicklern Simone Brecht und Robert Stulle. Brecht ist Coachin und Leadership-Trainerin, Stulle ist ebenfalls Berater. Die beiden sind selbstständig und arbeiten zusammen bei The Knaps, einem Netzwerk für Transformationscoaches. Sie erklären, wieso Kommunikation eigentlich immer schiefgeht und warum man bei positivem Feedback trotzdem (fast) nichts falsch machen kann. Im ZEIT-Podcast "Geht da noch was?" suchen Rose Tremlett und Lisa Hegemann Tipps für ein leichteres und entspannteres Leben und sprechen dafür mit Vorbildern und Expertinnen. Jeden zweiten Montag erscheint eine neue Folge.   [ANZEIGE] Mehr über die Angebote unserer Werbepartnerinnen und -partner finden Sie HIER. [ANZEIGE] Falls Sie uns nicht nur hören, sondern auch lesen möchten, testen Sie jetzt 4 Wochen kostenlos DIE ZEIT. Hier geht's zum Angebot.

Loucos no poder não são acidente, são consequência da nossa omissão. Eles crescem quando o medo cala, quando a covardia se veste de prudência. Brecht já alertava: “o ventre ainda é fértil de onde saiu a besta”. Cada silêncio nosso é alimento para o tirano. Este Cafézinho é um chamado: basta de plateia. É hora de interromper a farsa e retomar o palco. .... MUNDO CAFÉ BRASIL: https://mundocafebrasil.com Curso Merdades e Ventiras - Como se proteger da mídia que faz sua cabeça? https://merdadeseventiras.com.br/curso/ Conheça o Podcast Café com Leite: https://portalcafebrasil.com.br/todos/cafe-com-leite/ Instagram: https://www.instagram.com/lucianopires/ Para conhecer minhas palestras: https://lucianopires.com.br Vem dar uma olhada na nossa loja: https://lucianopires.com.br/loja Edição e animação: Daniel Pires ....................................................................................................................................................................

Loucos no poder não são acidente, são consequência da nossa omissão. Eles crescem quando o medo cala, quando a covardia se veste de prudência. Brecht já alertava: “o ventre ainda é fértil de onde saiu a besta”. Cada silêncio nosso é alimento para o tirano. Este Cafézinho é um chamado: basta de plateia. É hora de interromper a farsa e retomar o palco. .... MUNDO CAFÉ BRASIL: https://mundocafebrasil.com Curso Merdades e Ventiras - Como se proteger da mídia que faz sua cabeça? https://merdadeseventiras.com.br/curso/ Conheça o Podcast Café com Leite: https://portalcafebrasil.com.br/todos/cafe-com-leite/ Instagram: https://www.instagram.com/lucianopires/ Para conhecer minhas palestras: https://lucianopires.com.br Vem dar uma olhada na nossa loja: https://lucianopires.com.br/loja Edição e animação: Daniel Pires ....................................................................................................................................................................

Brecht van Hulten praat met producent en filmmaker met Corinne van Egeraat over The Coriolis Effect, de documentaire die ze samen met Petr Lom maakte. Midden in de Atlantische oceaan ligt de archipel Kaapverdië (Cabo Verde). Hier worden de orkanen geboren, die jaarlijks de Caraïben en de VS teisteren. Van nature kennen de eilanden vele beperkingen. Wie hier leeft, moet volhardend zijn. Of je nu een geit, een mens of een schildpad bent, wil je hier een leven opbouwen, nieuw leven voortbrengen, dan zul je levenskracht moeten tonen. De onbetwiste hoofdrolspelers in de film zijn de zeeschildpadden, majestueus zwevend in de oceaan of juist extreem schattig en kwetsbaar op het strand, stelen zij de show. Deze eilanden zijn voor hen een van de belangrijkste broedplaatsen in de wereld. Zij leggen hun eieren op de stranden waar ze geboren zijn. Dit prehistorische dier speelt de hoofdrol in meerdere ontstaansmythes; de schildpad draagt de aarde of is zelf de aarde. De enorme volharding waarmee de babyschildpad alle obstakels overwint op zijn weg naar de levensreddende oceaan, de mens die op een eiland net zo overgeleverd is aan de elementen als de dieren, ze tonen hun levensdrang tegen de klippen op in een snel veranderende wereld.

Brecht van Hulten in gesprek met documentairemaker Martijn Blekendaal. Superhelden lijken ver weg van ons te bestaan, maar soms kunnen ze juist verrassend dichtbij ons zijn. Dat laat Martijn Blekendaal zien met zijn nieuwe documentaire The Invisible Ones. Via verschillende verhaallijnen onderzoekt Martijn hoe mensen in het echte leven onzichtbaar zijn, willen zijn of moeten zijn. Van buitenbeentjes die zich ongewenst voelen of simpelweg verlegen zijn, tot buitenstaanders die opgejaagd worden vanwege hun huidskleur, afkomst of religie. Aan de hand van deze verhalen probeert Martijn zelf zijn eigen superheld te creëren. The Invisible Ones ging vorig jaar in première op IDFA en ontving daar een Special Mention in de categorie Jeugdfilm 9-12 jaar, en werd genomineerd voor Best Dutch Film Award IDFA 2024. De film is vanaf 4 september te zien in de Nederlandse bioscopen. 

Brecht van Hulten in gesprek met Roosje Klap, directeur van Noorderlicht Groningen. Klap komt in Opium praten over de Noorderlicht Biënnale.  Op zes locaties in Noord-Nederland – de Niemeyerfabriek, het Tschumipaviljoen, Museum Dr8888, Museum Belvédère, Brouwerij Fortuna en De Proef –, tonen kunstenaars telkens een ander perspectief op de manier waarop technologie onze wereld vormgeeft. In de editie van 2025 richt de Noorderlicht Biënnale zich op de verstrengelde relatie tussen technologie, ecologie en samenleving. De razendsnelle technologische vooruitgang heeft diepgaande impact op biodiversiteit, sociale structuren en ons gedeelde verleden. Met Machine Entanglements wil Noorderlicht bewustwording creëren én het gesprek openen: hoe vormt technologie ons leven, ons landschap en ons collectief geheugen?

Send us a textGeorge Feltenstein joins host Tim Millard to announce the September Blu-ray releases from Warner Archive. The lineup includes five films from various eras, all receiving meticulous 4K restorations that dramatically improve their visual and audio quality.• Beast of the City (1932): Jean Harlow's breakout film as a leading lady, an MGM attempt at Warner-style gangster pictures, with a new master from 4K scans of preservation elements• The Beggar's Opera (1953): Technicolor British film starring Laurence Olivier in a singing role, based on a 1728 operetta that later inspired Brecht's "Threepenny Opera"• Black Samson (1974): Fan-favorite blaxploitation film with a musical score by Alan Toussaint, scanned from original camera negative• I Died a Thousand Times (1955): CinemaScope remake of "High Sierra" starring Jack Palance and Shelley Winters• Touché Turtle and Dum-Dum: Complete series of 52 Hanna-Barbera cartoons, never before released in its entiretyAlso announced are three multi-film Blu-ray collections coming September 2nd: a six-film Errol Flynn collection, a four-film Greta Garbo collection, and a four-film 1950s sci-fi collection, all offering excellent value at approximately $10 per film.PURCHASE LINKS:Touche Turtle and Dum Dum: The Complete Series Blu-rayTHE BEAST OF THE CITY (1932) Blu-rayI Died A Thousand Times Blu-rayThe Beggar's Opera Blu-rayBlack Samson Blu-rayErrol Flynn 6-Film CollectionGreta Garbo - 4 Film Collection50's SCI-FI - 4 Film CollectionThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

Brecht van Hulten in gesprek met Judith Hoekstra, conservator bij het Joods Museum. Momenteel is in het Joods Museum in Amsterdam de tentoonstelling Photo League New York 1936-1951 te zien. Photo League was een collectief vooruitstrevende fotografen in New York, die het dagelijks leven en de sociale ongelijkheid vastlegde in deze stad. De expositie toont werk van bekende fotografen als Weegee, Walter Rosenblum, Berenice Abott en Lisette Model. Ook belicht de tentoonstelling de rol van Joodse en vrouwelijke fotografen binnen de Photo League. De thema's die zijn aankaarten zijn nog steeds actueel.  Deze fotografen combineerden een artistieke insteek met documentaire fotografie en gaven zo een menselijk gezicht aan arbeiders, migranten en gemarginaliseerde gemeenschappen die vaak over het hoofd werden gezien.

Trabalho apresentado: Cabaré Coragem do grupo GalpãoRelease: Ao percorrer o universo do cabaré, de Brecht à contemporaneidade, o novo espetáculo do Grupo Galpão, apresenta uma trupe envelhecida e decadente que, apesar das intempéries e dos revezes, reafirma a arte como lugar de identidade e permanência. Ao mesclar um repertório de músicas interpretadas ao vivo com números de variedades e danças, fragmentos de textos da obra de Brecht e cenas de dramaturgia própria, o Cabaré Coragem convida o público a uma viagem sonora e visual.Ficha Técnica:ELENCOAntonio EdsonEduardo MoreiraInês PeixotoLuiz RochaLydia Del PicchiaSimone OrdonesTeuda BaraFICHA TÉCNICADireção: Júlio MacielDireção musical, arranjos e trilha sonora: Luiz RochaDiretor Assistente: David MaurityCenografia e figurino: Márcio MedinaDramaturgia: ColetivaSupervisão de dramaturgia: Vinícius de SouzaDireção de cena e coreografia: Rafael BacelarIluminação: Rodrigo MarçalAdereços e pintura de arte: Marney HeitmannPreparação corporal e do gesto: Fernanda ViannaPreparação vocal: BabayaAssistência de figurino: Paulo André e Gilma OliveiraAssistência de cenografia: Vinícius de AndradeAssessoria de iluminação: Marina ArthuzziDireção de Experimentos Cênicos: Ernani Maletta, Luiz Rocha e Cida MoreiraColaboração artística: Paulo André e João SantosMaquiagem e perucaria: Gabriela DominguezAssistente de maquiagem e perucaria: Ana Rosa OliveiraConstrução cenário: Artes Cênica ProduçõesConfecção de figurinos: Taires ScatolinTécnico de palco: William BililiuInstalação de luminárias cênicas: Wellington SantosAssessoria de Imprensa: Polliane Eliziário (Personal Press)Comunicação on-line: Rizoma Comunicação & ArteFotos: Mateus LustosaRegistro e cobertura audiovisual: AlicateProjeto gráfico: Filipe Lampejo e Rita DavisOperação de luz: Rodrigo MarçalSonorização e operação de som: Fábio SantosAssistente técnico: William TelesAssistente de produção: Idylla SilmaroviProdução Executiva: Beatriz RadicchiDireção de Produção: Gilma OliveiraProdução: Grupo Galpão Integrantes: Rodrigo Marçal (Iluminação) é bacharel em Engenharia de Produção (FUMEC) e mestrando na linha de pesquisa de Poéticas Tecnológicas (UFMG/ EBA). Atualmente é coordenador técnico do Grupo Galpão de Belo Horizonte/MG (desde 2013). Assinou a criação de luz dos espetáculos “De tempo somos”, “Cabaré Coragem” e, mais recentemente, “(Um) Ensaio sobre a Cegueira” em parceria com o diretor Rodrigo Portella. Júlio Maciel (diretor) é ator e diretor teatral, formado pelo curso técnico do Teatro Universitário da UFMG em 1989. Passou a integrar o Grupo Galpão desde 1990, tendo participado como ator de vários espetáculos do grupo além da direção de Till a Saga De Um Herói Torto em 2009.Nos últimos vinte anos vem sendo convidado por vários grupos de teatro de diversas cidades brasileiras para dirigir e ministrar oficinas sobre a arte do ator.Márcio Medina (cenografia e figurino) é cenógrafo há mais de trinta anos, do Centro de Experimentação e Pesquisa Teatral de Pontedera Itália, legendário centro que abrigou e trabalha a partir dos conceitos de Jersy Grotowski.Marney Heitmann (adereços e pintura de arte) é formando em Ciências Biológicas pela PUCMG (1989 a 1992), em Teatro pela CEFAR – Fundação Clóvis Salgado-Palácio das Artes (1993 a 1995) e em Design de Moda pelo Centro Universitário Estácio (2014 a 2016)Luiz Rocha (direção musical, arranjos e trilha sonora) é cantor, compositor e ator, e desde 2001 compõe trilhas sonoras para teatro, cinema e dança, no teatro como ator, diretor e compositor e também na criação de canções e músicas para publicidade e cinema. Luiz já dividiu o palco com Arnaldo Antunes, Bem Gil e Grupo Galpão. No teatro trabalhou no musical "Chico Rosa", no papel de Noel Rosa; como ator e músico no espetáculo “Os Gigantes da Montanha”; como ator, músico, diretor musical, arranjador e trilha sonora original do espetáculo “De Tempo Somos – Um sarau do Grupo Galpão”.

It's wedding season and Alex is away at one of the numerous celebrations he's been invited to this summer. Which made him and Sarah think about the way that weddings are used on stage, screen and television. As Beth Steel's Till the Stars Come Down packs them in in the West End, they look back at plays by writers such as Lorca, Shakespeare and more surprisingly Brecht have used the conventions, tensions and hidden dramas of marriage to unpick uncomfortable truths about human nature and how sometimes a wedding ceremony will reveal more than than the bride and groom had bargained for. Hosted on Acast. See acast.com/privacy for more information.

Interview by Kris PetersFor 20 years, Jerome Reuter a.k.a. ROME has been a force to reckon with in the musical underground. Through relentless touring and a steady stream of high-quality concept albums, ROME has built a remarkably loyal following from Berlin to LA, from Sydney to Saigon, from Lisbon to Kyiv.The Luxembourg-born singer-songwriter has created an authoritative body of work, encompassing more than 20 full-length albums and numerous other official releases. ROME's compelling brand of Dark Folk merges various musical influences, from Post-Punk to Chanson. Lyrically inspired by world literature from Burroughs to Brecht, Celine to Cioran, from Hesse to Jünger; ROME's detailed, well-researched, yet particularly accessible concept albums combine his interest in history, philosophy and the arts in a most compelling way. Through his unique vision, he has managed to establish his very own musical niche informed by various European folk and Chanson traditions coupled with post punk and industrial influences.Now, for the very first time, Reuter is heading to Australia for a select run of shows starting from August 22, and to celebrate the occasion, HEAVY was fortunate enough to score some time to discuss his plans. We start by asking Reuter why he has neglected us for the last two decades (with a smile, of course)."Good question," he laughed. "There were a few attempts before, but there was COVID and this and that, but finally we got this back on track for this year and also because it's our 20th anniversar,y we are doing a big tour, so I guess we waited a little bit to make it happen this year."Being his first time out here, Australian fans have little idea of what to actually expect when Reuter takes the stage, so we try to fill in the blanks."This Australian tour is going to be a stripped-back, solo show," he began. "So it's just going to be me on guitar. It's not the whole band, it's not the big kaboom of thundering drums that I am known for. It's more of an honest, direct, intimate approach with me just on guitar, revisiting some of the material I have written in the last several years and taking it back to the roots."In the full interview, Jerome talks more about the tour and what to expect, the challenges of visiting a country for the first time, constructing set lists, how he develops his conceptual ideas and how much research goes into them, the plethora of goodness being released to celebrate Rome's 20th anniversary and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

durée : 00:43:05 - Les Midis de Culture - par : Élise Lépine - Auteur, illustrateur, dessinateur, Brecht Evens déploie son art avec une force singulière tant à l'échelle de la case, de la page ou du livre qu'à celle des murs de son exposition "Le repaire de la Méduse" à la Biennale du 9ᵉ Art de Cherbourg-en-Cotentin. - réalisation : Olivier Bétard, Alban Peltier - invités : Brecht Evens Peintre, auteur BD

Er gehört zu den profiliertesten Schauspielern in Deutschland. Ob im Film oder auf der Bühne. Seit Jahren ist sein Stammhaus die Berliner Schaubühne. Ein Abstecher führte ihn aber auch zu den Salzburger Festspielen.

Was passiert, wenn junge Menschen Theater nicht nur anschauen, sondern selbst erfahren? In dieser besonderen Episode von "Mittwochs in der Bibliothek" nehmen wir Sie mit hinter die Kulissen eines Theaterworkshops, der die Dreigroschenoper von Bertolt Brecht ins Zentrum stellt.

„Die Dreigroschenoper“ ist Bertolt Brechts berühmtestes Werk. Der Ruhm ist gar so groß, dass sich „Die Moritat von Mackie Messer“ bzw. „Mack the Knife“ zu einem Hunderte Male gecoverten Welthit entwickeln konnte. Uraufgeführt wurde das Stück 1928 in Berlin. Als Vorlage diente John Gays „Beggar's Opera“ von 1728. In enger Zusammenarbeit mit dem Komponisten Kurt Weill und der Übersetzerin und Autorin Elisabeth Hauptmann gelang Brecht eine subversive Mischung aus Revue, Satire und gesellschaftskritischem Musiktheater, das die bürgerliche Moral, die Mechanismen des Kapitalismus und die Verkommenheit aller gesellschaftlichen Klassen ironisch entlarvt. Der Bettlerkönig Peachum ist ein Unternehmer mit monopolistischen Tendenzen, Verbrecher Mackie Messer fragt sich, was ein Einbruch in eine Bank gegen die Gründung einer solchen ist, während Polly und Jenny romantisch-bürgerliche Liebesvorstellungen ad absurdum führen. Noch immer hat „Die Dreigroschenoper“ nichts von ihrer Wirkmacht verloren. In der neuen Folge von WfA-Literatur sprechen Ole Nymoen und Wolfgang M. Schmitt darüber, wie Brecht mit populären Mitteln den Kapitalismus analysiert. Unsere Zusatzinhalte könnt ihr bei Apple Podcasts, Steady und Patreon hören. Vielen Dank! Apple Podcasts: https://podcasts.apple.com/de/podcast/wohlstand-f%C3%BCr-alle/id1476402723 Patreon: https://www.patreon.com/oleundwolfgang Steady: https://steadyhq.com/de/oleundwolfgang/about

“Cada linha de trabalho que escrevi foi escrita, direta ou indiretamente, contra o totalitarismo”. É comum encontrarmos essa citação de George Orwell por aí. Porém, com frequência a segunda parte da frase é omitida. O britânico escreveu, sim, para combater o totalitarismo. Mas não só. O olhar para a própria obra está no ensaio “Por que escrevo”, de 1946. E a citação completa é essa: “Cada linha de trabalho sério que escrevi desde 1936 foi escrita, direta ou indiretamente, contra o totalitarismo e em prol do socialismo democrático”. Orwell, vocês sabem, é autor de “1984” e “Animal Farm”, que aqui cito com o título original por razões que vocês entenderão ao longo do podcast. Não só isso. Também escreveu dezenas de ensaios que nos ajudam a compreender como a sua visão de mundo foi sendo forjada de acordo com as próprias experiências. É um dos autores mais citados e lidos do século 20. Também é dono de uma das biografias mais desprezadas e das obras mais deturpadas desse período. Há muitas interpretações tresloucadas sobre a literatura de Orwell por aí. Para entender melhor quem foi esse cara e quais são os caminhos legítimos para interpretar a sua obra que convidei Débora Tavares para um papo. Débora é professora e idealizadora da Livre Literatura, plataforma que nasceu em 2020 com o objetivo de divulgar e democratizar o conhecimento produzido na universidade pública. Vou deixar o caminho do Instagram para vocês na descrição do episódio, recomendo que acompanhem o trabalho dela lá no Livre Literatura. Débora é também mestre e doutora em literatura pela USP, onde pesquisou a obra de George Orwell e a sua relação com a História. *** A coletânea de Brecht que menciono, organizada por André Vallias, saiu pela Perspectiva, não pela Parábola. ** O caminho para o instagram do Livre Literatura: https://www.instagram.com/livre_literatura * Aqui o caminho para a newsletter da Página Cinco: https://paginacinco.substack.com/

Près de 40 ans après la mise en scène d'Antoine Vitez, la pièce fleuve de Paul Claudel est adaptée par Eric Ruf et retrouve la Cour d'honneur du Palais des Papes.  En 1929, l'auteur Paul Claudel publie Le soulier de Satin, un drame d'amour qui se déroule au temps des Conquistadors, entre la fin du XVIè siècle et le début du XVIIè siècle. Construite en «quatre journées», l'auteur narre une histoire d'amour passionnelle, mais impossible, entre Rodrigue et Doña Prouhèze, épouse du gouverneur Don Pélage.  L'origine du Soulier de Satin est biographique. Paul Claudel s'est inspiré de sa propre histoire. Il a été éperdument amoureux d'une femme mariée, Rosalie Vetch dont il a été séparé, mais avec qui il a eu un enfant adultérin. Cet amour, qui aura duré quatre ans, lui a inspiré le personnage de Ysé dans la pièce : Partage de Midi, puis celui de Dona Prouheze.  Dans les années 20, il retrouve cette femme. Il apprend alors qu'il a un enfant. Il a voulu rendre cette histoire, mythique.  Paul Claudel s'est inspiré d'une légende chinoise : celles de ces deux étoiles qui ne se rejoignent jamais, mais qui se croisent dans le ciel. En raison de sa longueur, six, sept, huit heures, voire plus ! — la pièce est rarement jouée.   Elle a été créée pour la première fois à la Comédie Française en 1943 par Jean-Louis Barrault dans un Paris occupé. Puis s'ensuit la version d'Antoine Vitez au Festival d'Avignon en 1987 dans la Cour d'honneur du Palais des Papes. Pour cette adaptation, Antoine Vitez prend le parti de couper tout ce qui, dans le texte, était empreint de religion.  Olivier Py a également mis en scène la pièce en 2003 au Théâtre de la Ville.  Dans cette nouvelle mise en scène d'Eric Ruf, administrateur de la Comédie-française jusqu'au 4 août 2025, le spectacle retrouve la Cour d'honneur du Palais des Papes.  Invités : Didier Sandre, comédien et metteur en scène français. Il interprétait le personnage de Rodrigue dans la mise en scène d'Antoine Vitez. Dans cette nouvelle adaptation, il joue le rôle de Don Pelage.  J'ai essayé d'accueillir cette présentation du Soulier pour ce qu'elle est aujourd'hui. Mais en entendant certaines répliques, j'ai des bouffées de temps retrouvé. Didier Sandre  Sefa Yeboah, comédien français. C'est l'une des dernières recrues de la Comédie Française qu'il a rejoint en 2023. Il y est dirigé par Thomas Ostermeier dans L'opéra de quat'sous de Brecht et Weill. Il a interprété Don Apostolo Gazella dans Lucrèce Borgia de Victor Hugo par Denis Podalydès qui lui confie également le rôle de Léandre dans Les Fourberies de Scapin de Molière. Il joue le rôle de l'ange gardien de Doña Prouhèze dans Le Soulier de Satin.  Il y a quelque chose d'accessible presque. Claudel a cette langue qui est magnifique, mais qui peut être très complexe. Eric Ruf a voulu la simplifier, pas la rendre banale, car ce n'est pas possible, mais la rendre audible, la rendre vivante. Sefa Yeboah   Avec aussi le témoignage d'un couple qui a assisté à la mise en scène d'Antoine Vitez, en 1987. Propos recueillis par Fanny Imbert. Le Soulier de Satin à voir dans la Cour d'honneur du Palais des papes jusqu'au 22 juillet 2025. Quelques mots sur Paul Claudel :  Né en 1868, Paul Claudel est un écrivain, dramaturge et diplomate français. Il est le frère de la sculptrice Camille Claudel. Il se convertit eau catholicisme en 1886 et toute son œuvre sera profondément marquée par sa foi. Passé une velléité d'entrer dans les ordres, il entre dans la carrière diplomatique en 1893. Il rencontre Rosalie Vetch avec qui il aura une fille illégitime, Louise. Il entre à l'Académie française en 1946. Paul Claudel est décédé en 1955.  Programmation musicale :  Le groupe occitan Raffut avec le titre «Tout est fragile».

Près de 40 ans après la mise en scène d'Antoine Vitez, la pièce fleuve de Paul Claudel est adaptée par Eric Ruf et retrouve la Cour d'honneur du Palais des Papes.  En 1929, l'auteur Paul Claudel publie Le soulier de Satin, un drame d'amour qui se déroule au temps des Conquistadors, entre la fin du XVIè siècle et le début du XVIIè siècle. Construite en «quatre journées», l'auteur narre une histoire d'amour passionnelle, mais impossible, entre Rodrigue et Doña Prouhèze, épouse du gouverneur Don Pélage.  L'origine du Soulier de Satin est biographique. Paul Claudel s'est inspiré de sa propre histoire. Il a été éperdument amoureux d'une femme mariée, Rosalie Vetch dont il a été séparé, mais avec qui il a eu un enfant adultérin. Cet amour, qui aura duré quatre ans, lui a inspiré le personnage de Ysé dans la pièce : Partage de Midi, puis celui de Dona Prouheze.  Dans les années 20, il retrouve cette femme. Il apprend alors qu'il a un enfant. Il a voulu rendre cette histoire, mythique.  Paul Claudel s'est inspiré d'une légende chinoise : celles de ces deux étoiles qui ne se rejoignent jamais, mais qui se croisent dans le ciel. En raison de sa longueur, six, sept, huit heures, voire plus ! — la pièce est rarement jouée.   Elle a été créée pour la première fois à la Comédie Française en 1943 par Jean-Louis Barrault dans un Paris occupé. Puis s'ensuit la version d'Antoine Vitez au Festival d'Avignon en 1987 dans la Cour d'honneur du Palais des Papes. Pour cette adaptation, Antoine Vitez prend le parti de couper tout ce qui, dans le texte, était empreint de religion.  Olivier Py a également mis en scène la pièce en 2003 au Théâtre de la Ville.  Dans cette nouvelle mise en scène d'Eric Ruf, administrateur de la Comédie-française jusqu'au 4 août 2025, le spectacle retrouve la Cour d'honneur du Palais des Papes.  Invités : Didier Sandre, comédien et metteur en scène français. Il interprétait le personnage de Rodrigue dans la mise en scène d'Antoine Vitez. Dans cette nouvelle adaptation, il joue le rôle de Don Pelage.  J'ai essayé d'accueillir cette présentation du Soulier pour ce qu'elle est aujourd'hui. Mais en entendant certaines répliques, j'ai des bouffées de temps retrouvé. Didier Sandre  Sefa Yeboah, comédien français. C'est l'une des dernières recrues de la Comédie Française qu'il a rejoint en 2023. Il y est dirigé par Thomas Ostermeier dans L'opéra de quat'sous de Brecht et Weill. Il a interprété Don Apostolo Gazella dans Lucrèce Borgia de Victor Hugo par Denis Podalydès qui lui confie également le rôle de Léandre dans Les Fourberies de Scapin de Molière. Il joue le rôle de l'ange gardien de Doña Prouhèze dans Le Soulier de Satin.  Il y a quelque chose d'accessible presque. Claudel a cette langue qui est magnifique, mais qui peut être très complexe. Eric Ruf a voulu la simplifier, pas la rendre banale, car ce n'est pas possible, mais la rendre audible, la rendre vivante. Sefa Yeboah   Avec aussi le témoignage d'un couple qui a assisté à la mise en scène d'Antoine Vitez, en 1987. Propos recueillis par Fanny Imbert. Le Soulier de Satin à voir dans la Cour d'honneur du Palais des papes jusqu'au 22 juillet 2025. Quelques mots sur Paul Claudel :  Né en 1868, Paul Claudel est un écrivain, dramaturge et diplomate français. Il est le frère de la sculptrice Camille Claudel. Il se convertit eau catholicisme en 1886 et toute son œuvre sera profondément marquée par sa foi. Passé une velléité d'entrer dans les ordres, il entre dans la carrière diplomatique en 1893. Il rencontre Rosalie Vetch avec qui il aura une fille illégitime, Louise. Il entre à l'Académie française en 1946. Paul Claudel est décédé en 1955.  Programmation musicale :  Le groupe occitan Raffut avec le titre «Tout est fragile».

Atriz fala sem filtro sobre sexo, envelhecimento, conservadorismo, identidade de gênero, relacionamentos e fama tardia Aos 60 anos, Nany People é uma força da natureza: são cinco décadas de palco, quatro desde que trocou o interior de Minas pela capital paulista e três na televisão brasileira, onde foi uma das primeiras mulheres trans a ocupar espaço com dignidade, inteligência e humor — mesmo quando o país ainda não sabia bem como lidar com isso. “O fato de eu existir como sou já é um ato político. Ir na padaria comprar pão, entrar num hotel cinco estrelas pela porta da frente, lançar um livro, contar minha história, estar viva: tudo isso é um posicionamento. Não preciso subir em palanque. O meu partido sou eu", afirma. No Trip FM, a atriz e humorista fala da infância em que cantar veio antes de falar, da mãe que a acolheu quando o mundo queria reprimir, da coragem de se afirmar, da vida afetiva, do envelhecer com prazer e dos altos e baixos de uma trajetória feita de escolha, entrega e muita persistência. “Eu abri mão de vida pessoal. Sepultei minha mãe numa sexta e no sábado estava no palco, porque eu precisava de teatro pra acontecer, pra estar viva", conta. No papo com Paulo Lima, Nany também divide sua visão sobre os limites do humor: “A comédia sempre me salvou. Brecht dizia: qualquer discurso, pra ser pertinente, tem que ser bem-humorado. Mesmo brincando, falei aquilo que eu pensava. O humor me deu condição de rir comigo mesma, não rir de mim. Agora, fazer humor da desgraça alheia é humor de vampiro. O novo sempre vem.” E completa: “A vida é uma transa: tem que ser gostosa, divertida, fluente e é preciso estar lubrificada pro orgasmo ser bom.” O programa fica disponível no Spotify e no play aqui em cima. [IMAGE=https://revistatrip.uol.com.br/upload/2025/07/687a84bf654f4/nany-people-humorista-drag-mulher-trans-trip-fm-mh.jpg; CREDITS=Moisés Pazianotto; LEGEND=Nany People; ALT_TEXT=Nany People] O humor te salvou? De que forma? Nany People. A comédia sempre me salvou. Sempre. Todas as vezes em que a vida ficou dura demais comigo, foi o humor que me deu respiro. Eu transformei tragédia em catarse, em riso. Eu lembro do que o Bertolt Brecht dizia: qualquer discurso, pra ser pertinente, tem que ser bem-humorado. E eu acredito muito nisso. Mesmo quando estou brincando, estou falando sério. O humor me reposicionou, me deu a chance de existir no palco, na TV, nas entrevistas. Mas não é aquele humor que ri de mim. É o que ri comigo. Tem uma diferença enorme. E tem mais: fazer humor da desgraça alheia é humor de vampiro. Eu nunca fui disso. Eu faço humor com consciência, porque ele foi minha maior ferramenta de sobrevivência. Qual o impacto real de conquistar o nome social? Foi libertador. Um reconhecimento do Estado brasileiro. Um pedaço de papel que parece burocracia, mas muda tudo. Antes, era aquele constrangimento… O sorrisinho amarelo do recepcionista, o nome de batismo que te obriga a levantar na sala do médico, o crachá errado na portaria do hotel. Quando você vê seu nome, a sua foto, o gênero certo, você entende: a minha existência foi validada. Não é mais favor, é direito. O nome social acaba com esse vazio entre o que você é e o que o mundo vê. Eu brinco que agora está escrito ali: Dona Nany People. Está certo. Está inteiro. É isso. Acabou. Você já abriu mão da vida pessoal pela carreira. Se arrepende? Eu abri mão da vida pessoal, sim, mas não me arrependo. Eu sepultei minha mãe numa sexta-feira e no sábado já estava no palco. Não porque eu sou fria, mas porque é ali que eu me sinto viva. É ali que eu existo. O teatro é meu amante, meu marido, meu pior funcionário. E é meu maior amor. Eu sempre priorizei minha vida profissional. Quando alguma paixão tentava me tirar desse caminho, eu lembrava do que minha mãe me disse lá atrás: “Homem tira o nosso brilho em função de um poder próprio. Cuidado pra não abrir mão dos seus sonhos.” Eu ouvi. E escolhi. Até hoje. Porque estar no palco é estar inteira. É estar em mim.

von Oppen, Stephanie www.deutschlandfunkkultur.de, Studio 9

Oyunculuk yöntemleri podcast serisinin ikinci bölümünde Lee Strasberg'i ele alıyoruz. Bu podcast serisinde sizi, sahne sanatlarının derinliklerineve oyunculuğun kuramsal köklerine doğru bir yolculuğa davet ediyoruz.Stanislavski'den Grotowski'ye, Brecht'ten Lecoq'a, Stella Adler'den Suzuki'ye kadar tiyatro dünyasını şekillendiren 20'den fazla ustanın oyunculuk sistemlerini birlikte keşfedeceğiz.www.altkatsanat.com

durée : 01:54:57 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - - réalisation : Virginie Mourthé

Brecht van Hulten praat met vertaler Luk van Haute over zijn boek Trein naar Kamakura. Kenzaburo Oë, Osamu Dazai, Haruki Murakami. Wie verslingerd is aan de Japanse meesterwerken, leest die heel vaak in de Nederlandse vertaling van Luk Van Haute. Al meer dan veertig jaar reist hij door de Japanse literatuur – eerst als lezer, later ook als onderzoeker en vertaler. In Trein naar Kamakura gidst hij de lezer door zijn herinneringen aan die trips, bezoekt hij plekken die een belangrijke rol spelen in boeken en interviewt hij de belangrijkste hedendaagse schrijvers. Welke invloed had Amsterdam op Yoko Ogawa's De geheugenpolitie? Waarom zijn er zoveel Japanse kattenboeken? Hoe verhoudt de Japanse cultuur van zelfmoord zich tot de literatuur? En wat is er eigenlijk zo Japans aan Japanse literatuur?    

Op zaterdag 19 november 2005 gaat de telefoon bij de huisarts van wacht: Willy meldt in paniek dat zijn vrouw Gilberte dood in bed ligt in hun woning in Brecht. De arts komt ter plekke en kan inderdaad enkel nog haar overlijden vaststellen. Er zijn geen uiterlijke sporen van geweld te vinden, maar later dat weekend begint de arts toch te twijfelen. Hij neemt het zekere voor het onzekere en stapt maandagochtend naar de politie. Hier is aflevering 162! Zit je met iets? Praat bij Tele-Onthaal over wat jou bezighoudt. Bel anoniem en gratis naar 106 (24u/7d) of chat via tele-onthaal.be Ons pakketje van €68,99, nu voor €44,99 én ook nog eens gratis verzending als je de code VOLKSJURYBE gebruikt. 35% korting dus en zo aan je voordeur bezorgd. Beter wordt het niet :-). Zolang de voorraad strekt, op = op dus haast je! Surf naar wijnbeurs.be/volksjury of wijnbeurs.nl/volksjury voor Nederlandse luisteraars. Bestel nu op emma-matras.be - Tot 60% korting tijdens de ZOMER SOLDEN (01/07 tot 31/07) Ontvang 5% extra korting met de code DEVOLKSJURY5 Voornaamste bronnen: De Morgen - 'Eerst een groot pak frieten, dan een cognac' De Morgen - 'We gingen naar het bos om te vrijen' De Morgen - Betrapt op moord, net voor crematie van slachtoffer De Morgen - Het gevecht van Yolande Magy, de oudste vrouwelijke gedetineerde van het land De Morgen - Magy blijft hardnekkig betrokkenheid moordpogingen ontkennen De Morgen - Na zeven jaar cel veroordeeld tot zeven jaar cel De Morgen - Tot 25 jaar cel gevorderd voor Magy en Van Gorp De Morgen - Veroordeelde Magy: Liever sterven dan naar gevangenis De Morgen - Yolande gaf me vier pillen, daarmee moest ik Gilberte verdoven De Morgen - Yolande Magy schuldig bevonden aan moordpoging met pillen De Morgen - Yolande Magy wint en mag gevangenis verlaten HBvL - Dochter Magy: “Ik heb indertijd verklaringen afgelegd onder druk omwille van mijn kinderen” HBvL - Magy ontkent bedreigingen en stalking van slachtoffer Gilberte Timmermans HBvL - Oudste vrouwelijke gedetineerde van België na 7 jaar vrijgelaten omdat ze geen eerlijk proces kreeg HBvL - Yolande Magy heeft volgens gerechtspsychiater egocentrische kenmerken HBvL - “Yolande Magy vroeg specifiek naar Zolpidem” HBvL - Zaak-Magy: “Wel degelijk aan Marokkaanse kennis dodende materie gevraagd” HLN - Binnenkort zijn uwe man en uw huis van mijSee omnystudio.com/listener for privacy information.

Bu podcast serisinde sizi, sahne sanatlarının derinliklerineve oyunculuğun kuramsal köklerine doğru bir yolculuğa davet ediyoruz. Stanislavski'den Grotowski'ye, Brecht'ten Lecoq'a, Stella Adler'den Suzuki'ye kadar tiyatro dünyasını şekillendiren 20'den fazla ustanın oyunculuk sistemlerini birlikte keşfedeceğiz.Bu ilk bölümde Stanislavski'nin yöntemini ele alıyoruz. www.altkatsanat.com

In episode 17 of (Pop) Cultural Marxism, Ajay and Isi once again find themselves in the regrettable position of praising the Walt Disney Company. After chatting about recent cultural highlights (Clair Obscur: Expedition 33, a 40th anniversary screening of Kurosawa's Ran, and a Criterion retrospective on Johnnie To), they consider the popular and critical success of Andor's second season, and ask what it means to describe a pop cultural text as “politically timely.” Their conversation turns to extratextual ecosystems (press junkets, interviews), Gilroy's deep engagement with cinematic depictions of fascism and rebellion (Army of Shadows, The Conformist), architecture and costume design, season 2 high points (the Ghorman Massacre, Mon Mothma's Senate speech), the politics of revolutionary alliances, and imperial bureaucracy. Finally, they consider how the show makes the transition—narratively, visually, musically—into the lore-dense timeline of Rogue One and A New Hope, and ponder its uncharacteristically fascistic final scene. (Pop) Cultural Marxism is produced by Ryan Lentini.  Learn more about upcoming courses on our website. Follow Brooklyn Institute for Social Research on Twitter / Facebook / Instagram / Bluesky Shownotes: Clair Obscur: Expedition 33 (Sandfall Interactive) Ran, dir. Akira Kurosawa (1985) Exiled, dir. Johnnie To (2006) Ghost Dog: The Way of the Samurai, dir. Jim Jarmusch (1999) Battleship Potemkin, dir. Sergei Eisenstein (1925) The Battle of Algiers, dir. Gillo Pontecorvo (1966) Army of Shadows, dir. Jean-Pierre Melville (1969) Jean-Paul Sartre, "The Republic of Silence" (1944) The Conformist, dir. Bernardo Bertolucci (1970) Sergey Nechayev, "Catechism of a Revolutionary" (1869) Laleh Khalili, "The Politics of Pleasure: Promenading on the Corniche" Guy Debord, The Society of the Spectacle Bertolt Brecht and Walter Benjamin on Brecht's "Epic Theater" McKenzie Wark, The Beach Beneath the City McKenzie Wark, A Hacker Manifesto

The collaboration between Kurt Weill and Bertolt Brecht is rightly legendary. The two men could not have been more different from each other, and like the Brahms/Joachim relationship I mentioned in my recent show about the Brahms Double concerto, the friendship between Weill and Brecht was stormy to say the least. The two collaborated on some of the most memorable works of the Weimar era in Germany, such as the Threepenny Opera, which features a pretty famous tune called Mack the Knife. Their final collaboration was on the “sung ballet” The Seven Deadly Sins. This is a piece that was written at a point of remarkably high tension within Weimar Germany. On an artistic level, the 1920s and early 1930s had seen a veritable explosion in the world of culture, with art, dance, theater, and music all featuring artists who were pushing the boundaries with wild experimentation and a kind of ecstatic fervor that produced some of the world's greatest and most memorable cultural achievements. On a parallel track however, the rise of the Nazis cast a pall over all of this. By 1933, both Brecht and Weill(who was Jewish) knew that Germany was not a place that they could stay safely. Weill ended up in Paris and then in the US for the rest of his life, while Brecht bounced around Europe before returning to East Germany after the war, hoping to be a part of the Marxist Utopia that he believed had been founded there.  The simmering combination of Weill's mastery of transforming popular forms into a unique kind of classical music along with Brecht's pointed satire and brilliantly inventive libretti resulted in the Seven Deadly Sins, a piece that that brutally satirizes extreme capitalism and the degradation of the human soul that supposedly results from it. This is a nakedly political piece, and I should make it clear that by talking about it, by choosing to feature it on the show, and by regularly performing it, I don't necessarily endorse its views. Brecht was extreme in all ways, as we'll get to today, and the power of this piece in my opinion doesn't come from its politics, but from its remarkable and devastating portrayal of a human soul and the tragedies that can befall it. This is one of my favorite pieces of the whole 20th century, and I'm so happy to share it with you today. Join us!

durée : 00:58:07 - Toute une vie - par : Anaïs Kien, Marie Chartron - Célébré autant que contesté de son vivant, monumentalisé après sa mort, Bertolt Brecht observe son époque et fait le pari, dans sa langue mordante, poétique et précise qu'il est possible de transformer le monde. - réalisation : Franck Lilin

Last night the winners of this year's Women's Prize were announced. The winner for fiction is Yael van der Wouden for her novel The Safekeep and the non-fiction prize by Rachel Clarke for her book The Story of a Heart, which tracks the lifesaving gift of a transplant. Anita Rani discusses the winning books with the Chair of Judges for the Fiction Prize, author Kit de Waal, and Chair of Judges for the Non-Fiction Prize, journalist and author Kavita Puri.Race Across The World reached its finale on BBC One this week, after a nearly 9,000-mile dash across Asia, from the Great Wall in north eastern China to the southernmost tip of India, via the Himalayan peaks of Nepal. This year's winner were mother and son team Caroline Bridge and her 21-year-old son Tom. Caroline talks to Anita about the experience.An entrepreneur and mother was refused entry to a tech event in London because she had brought her eight-month-old baby with her. Anita speaks to the woman in question, Davina Schonle, and the director and producer Jude Kelly about the issue of banning babies from events of this nature.It's festival season, with Glastonbury starting at the end of June. However it's not just the music and the atmosphere that festival goers need to be thinking about. The UK Health Security Agency has warned that measles is circulating across the country, with high numbers in the South West and London. Anita is joined by the UK Health Security Agency Deputy Director of Vaccination Programmes, Dr Julie Yates - who is the former public health lead in South West on Glastonbury.Grammy-nominated Ute Lemper has had a career spanning stage, film and music. She is renowned for her interpretations of Kurt Weill, Brecht and chanson legends like Marlene Dietrich. Ute won the American Theatre World Award and the Laurence Olivier Award for her performance as Chicago's Velma Kelly both on Broadway and in London's West End, and the Molière Award for her performance as Sally Bowles in Cabaret in Paris. Utel Lemper now has a new album, Pirate Jenny, celebrating the music of legendary composer Kurt Weill. She joins Anita to talk about her passion for his work.Presenter: Anita Rani Producer: Rebecca Myatt

Ab 1940 lebte der Wahlmünchner Thomas Mann im US-Exil in Los Angeles. Wie veränderte die Metropole sein Leben? Warum pflegte er seine Abneigung gegen Brecht auch dort? Wo war sein Frisör? Und warum gibt es keinen Hollywood-Film aus seiner Feder? Auf den Spuren des "Zauberers" unter Palmen.

 No one can be good for long if goodness is not in demand.Don't be afraid of death so much as an inadequate life.Because things are the way they are, things will not stay the way they are.Grub first, then ethics.He who laughs has not yet heard the bad news.War is like love; it always finds a way.People remain what they are even if their faces fall apart.Why be a man when you can be a success?Everyone chases after happiness, not noticing that happiness is right at their heels.What's breaking into a bank compared with founding a bank?The law was made for one thing alone, for the exploitation of those who don't understand it, or are prevented by naked misery from obeying it.Whenever there are great virtues, it's a sure sign something's wrong.Intelligence is not to make no mistakes, but quickly to see how to make them good.To live means to finesse the processes to which one is subjugated.From the cradle to the coffin underwear comes first.People are too durable, that's their main trouble. They can do too much to themselves, they last too long.Poverty makes you wise but it's a curse.Poverty makes you sad as well as wise.Unhappy the land that is in need of heroes.The finest plans have always been spoiled by the littleness of them that should carry them out. Even emperors can't do it all by themselves.There are many elements to a campaign. Leadership is number one. Everything else is number two.The world of knowledge takes a crazy turn when teachers themselves are taught to learn.Don't tell me peace has broken out.

Ute Lemper's decades-long career spans stage, film, and music, with over 30 recordings. Renowned for her interpretations of Berlin Cabaret, Kurt Weill, Brecht, and chanson legends like Marlene Dietrich and Edith Piaf, she has also starred in major musicals across Broadway, the West End, Paris, and Berlin. She won the American Theater World Award and the Laurence Olivier Award for her performance as Chicago's Velma Kelly in the West End and on Broadway, the Molière Award for her performance as Cabaret's Sally Bowles in Paris, among others, and earned Grammy nominations.Her global tours feature diverse projects, including Rendezvous with Marlene, Songs for Eternity, and tributes to Piazzolla and Brecht. She has composed music inspired by Bukowski, Neruda, and Coelho and released a bestselling autobiography in 2023. She released her self-penned and contemporary album Time Traveler just last year. Singing in five languages, she continues to perform worldwide. A longtime New York resident, she lives there with her family and four children.We talk about her newest album Pirate Jenny and her upcoming concert at Cadogan Hall on June 13th, 2025.

Lecture par l'auteur Entretien mené par Colombe Boncenne Tout se tient explore la sensation de manque évoquée par Pasolini et Brecht, tout en interrogeant si ce vide est véritablement une absence ou si le monde offre déjà assez de matière pour l'émerveillement. Structuré en une diversité de formes (poèmes, proses, essai sur Pasolini), l'ouvrage capte les variations du quotidien et des saisons comme un baromètre du réel. Plutôt qu'un message, il propose une écoute attentive du dialogue entre soi et le monde, où la langue poétique devient l'espace où tout se relie. À lire – Stéphane Bouquet, Tout se tient, P.O.L., 2025.

asses.masses is a unique, 7-hour, live performance that uses video game logic to expand the narrative possibilities and social dramaturgy of experimental theater. With a single video game controller at the front of a movie theater with lights up so everyone can see each other, the audience must negotiate amongst themselves who will step up to play the next section of a narrative game that spans a wide range of different genres from 8-bit pixel art RPG representing the hyperreal to high-res, 3D open world walking simulators representing a fantasy idealized realm. The audience also has to negotiate how to make hundreds of collective decisions that come up in the game from dialogue tree options to which direction to to go to deciding which set of metaphoric political platform issues that should be prioritized for the ensemble cast of socialist Marxist donkeys. They lean upon the binge-watching culture to split the 7 to 8-hour run time into 10 total episodes split into 2-episode chunks that are broken up by 4 different intermissions where snacks and dinner are provided. Here's a description of the story that's told in this long-form format: The unemployed donkeys have one demand: the humans must surrender their machines and give all donkeys their jobs back. But revolution is never easy! asses.masses is a custom-made video game about labour, technophobia, and sharing the load of revolution, designed to be played from beginning to end in a live theatre. This is gaming as performance, an immersive, cheeky, and highly original work. Brave spectators take turns at the controller to lead the herd through a post-Industrial society, where asses are valued more for their hides than their potential. Confronting automation-driven job loss, nostalgia as a barrier to progress, and the role of technology in adaptation, we are encouraged to find space between the work that defines us and the play that frees us. asses.masses is Animal Farm meets Pokémon meets Final Fantasy, as exciting in form as it is in content. No previous gaming (or donkey) experience required. asses.masses is one of the more unique immersive experiences that I've had a chance to have, especially when it comes to mashing up social behaviors that stem from video game culture, but set within a live theatrical context. I saw asses.masses at PAM CUT (Portland Art Museum's Center for an Untold Tomorrow) here in Portland, OR on March 29th, and I had a chance to remotely catch up with the co-creators Patrick Blenkarn and Milton Lim to unpack their journey of blending video games into how stories are told in a live theatrical performance. We also explore how they're exploring new modes of social dramaturgy that leverage insights from couch co-op, live Twitch streams, and video game logic where part of the performance is automated through the video game itself, but it's augmented by the emergent social dynamics of the audience that end up reflecting main narrative themes of managing flows of power, community-building, collective decision-making, and in the case of our screening some actual revolt against an theater nerd/gamer audience member turned heel. Overall, the experience allowed the audience to exercise some muscles of social imagination beyond the Capitalist Realism baseline as elaborated by Mark Fisher's work, and there was a turn-taking between the more cathartic mode of Aristotelian drama and breaking the fourth wall of Brecht's distancing effect / alienation effect. The narrative was initially developed to serve a wide range of game-play mechanics in a live theater context, but the spaciousness of the extended run-time allowed them to explore many deeper philosophical, political, and economic topics that most stories do not have the time to get into. The ensemble cast of archetypal characters each have their own arc, and I found that the ending and epilogue really landed and stuck with me. If you have an opportunity to catch an upcoming scre...

Marcus, Dorothea www.deutschlandfunk.de, Kultur heute

We're back with a full rundown of the latest Colorado Rockies Minor League action! From a high-profile debut to clutch performances across the system, here's what went down this week:

Gabriella Bosco"I frutti del Congo"Alexandre VialattePrehistorica Editorewww.prehistoricaeditore.itI Frutti del Congo, è innanzitutto un volantino pubblicitario di una magnifica donna nera che porta con sé dei limoni d'oro. Ma anche i sogni degli scolari di una cittadina della montagnosa Alvernia, per i quali questa illustrazione simboleggia l'impresa estrema, la poesia stessa dell'esistenza.Cos'è del resto l'adolescenza? Proprio questa è la questione cui l'autore risponde, senza di fatto avere bisogno di rispondere, in questo romanzo. Vialatte infatti ci mostra l'adolescenza, con le sue stravaganze, le sue sublimi aspirazioni, i suoi amori febbrili; ci mostra al tempo stesso una città di provincia con le sue kermesse, il suo assassino, il suo dottore, il liceo e la piazza.Ode alla poesia del quotidiano, alla creatività e all'evasione, ma anche dura critica della società di consumo, I Frutti del Congo si dà come “uno dei più grandi romanzi francesi del XX secolo” – secondo il critico Pierre Jourde –, il capolavoro dell'avventura immaginata. Si tratta di un'opera dall'ambizione altissima, fulgida metafora della Letteratura.Alexandre Vialatte, divenuto celebre per aver fatto conoscere per primo ai francesi le opere di Kafka, e per avere tradotto autori del calibro di Nietzsche, Goethe, von Hoffmannsthal, Mann, Brecht, Alexandre Vialatte (1901 Magnac-Laval – 1971 Parigi) ha nel corso degli anni dato prova di un'immensa creatività artistica, che lo ha portato a spaziare dalla poesia alla cronaca letteraria, per arrivare al romanzo. Ha pubblicato presso alcune delle più prestigiose case editrici d'oltralpe, tra le quali Gallimard e Juillard. Oggi, è universalmente annoverato dalla Critica nella categoria dei grandi classici senza tempo.Gabriella Bosco, la traduttrice di questo libro, insegna letteratura francese all'Università di Torino. Si occupa di teoria della letteratura, stadiando in particolare le neo-avanguardie e le scritture narrative in prima persona. Scrive di letteratura su varie testate italiane e francesi. Traduce romanzi e saggi. Tra gli autori tradotti Eugène Ionesco, Samuel Beckett, Philippe Forest.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Host Tjaša Ferme talks to multimedia artist Sister Sylvester about Drinking Brecht/Good Genes, which cautions how simplistic readings of genetics have always led to fascism. Join a label-defying conversation about the absence of authority in theatre and becoming an amateur geneticist to read the DNA on Brecht's hat.

Lieve vrienden,   Brecht Arnaert is terug! En deze keer neemt hij geen blad voor de mond (niet dat 'ie dat voorheen wel deed). Dit is zijn vierde keer in de podcast, maar zonder twijfel zijn meest mindblowing gesprek tot nu toe. Eentje voor de echte vrijdenkers. De rest... die zal zich wellicht wat ongemakkelijk voelen.   Hij legt alle kaarten op tafel: de verborgen krachten achter oorlogen, de elite die de controle steeds verder uitbreidt, en de spirituele dimensie achter het machtsspel. “We zitten in de eindtijd.”   We zoomen in op het oude monetaire systeem, de rol van de Khazaren en hoe rituelen en symboliek de wereldpolitiek sturen. Brecht bespreekt hoe de Talmoed als juridische blauwdruk dient voor een wereldorde waarin Israël de controle krijgt over de rest van de wereld. Hij wijst op hoe deze wetten al langzaam doorgevoerd worden, verstopt achter symboliek en maatschappelijke trends zoals gendertransitie en pedofilie. “Pedofilie moet acceptabel worden. Dat is geen complottheorie, dat staat in de Talmoed.”   Brecht doet ook een voorzichtige voorspelling: “Als ik juist ben, stopt de oorlog in Oekraïne op 7 augustus 2025. En Trump krijgt de Nobelprijs voor de Vrede op 10 december. Trump gaat de zionistische agenda helemaal uitvoeren.”   Maar uiteindelijk gaat dit gesprek niet over angst. Niet over geopolitiek of machtsstructuren. Want wie echt vrij wil zijn, zoekt de oplossing niet buiten zichzelf. “Het enige wat je hoeft te doen, is je projecties naar binnen trekken. Alles wat je in de buitenwereld ziet, is een spiegel. Pas als je dat begrijpt, kun je je eigen vrijheid vinden.”   Ga ‘m luisteren!    Steun The Trueman Show: https://doneren.thetruemanshow.com/ Word Member en bekijk Uncensored op That's The Spirit: https://thatsthespirit.nu/   Volg ons op  Instagram: https://www.instagram.com/thetruemanshowpodcast/ Facebook: https://www.facebook.com/jornluka/ Telegram: https://t.me/s/jornluka?before=217   Meld je aan voor de Nieuwsbrief: https://www.thetruemanshow.com/#inschrijven   Samenwerken met de Trueman Show? Stuur een mail naar partners@thetruemanshow.com   Gezond en puur water drinken? Bestel nu een Aqualine waterfilter met 10% korting in de That's the Spirit webshop! Actie geldig t/m maandag 24 maart: https://shop.thatsthespirit.nu/product-category/waterfilters/   Boost je testosteron en ervaar meer energie, focus en geluk: gebruik code TMS en bestel Pine Pollen met 10% korting: https://pinepollenpoeder.nl   Met B-mind aan de slag: Starten met het geaccrediteerde leefstijlprogramma van B-mind met 10% korting - kortingscode TMSLeefstijl:  https://www.bmind.nl/leefstijlcoach-opleiding/?utm_source=tms&utm_medium=referral Start met de online Ademcoach opleiding met 20% korting - kortingscode TMSAdemcoach:  https://www.aanmelden.bmind.nl/r?id=nTvbM8Zs De online SlimSlank methode leren met 20% korting – kortingscode TMSSlimSlank:  https://www.aanmelden.bmind.nl/r?id=GaA7szUS    Safecapital aanbieding - krijg bij een jaarabonnement 3 maanden gratis: https://www.safecapital.eu/aanbod-jorn/   Volg Brecht op Telegram: t.me/brechtzegt   Voed je lichaam met natuurlijke orgaansupplementen, gebruik code TMS voor 10% korting op je eerste bestelling: https://modernnative.nl/orgaanmix

The last book guest of this series is Dream Count by Chimamanda Ngozi Adichie.Sara and Cariad discuss bad boyfriends, marijuana, the female body, motherhood, grief and Brecht.We'll be back soon! Thank you for reading with us this series. We like reading with you!Trigger warning: This book covers an array of topics which might be upsetting and we discuss some themes including sexual assault, rape, female genital mutilation, slavery and racism.Dream Count by Chimamanda Ngozi Adichie is available to buy here.Tickets for Sara's tour show I Am A Strange Gloop are available to buy from sarapascoe.co.ukSara's debut novel Weirdo is published by Faber & Faber and is available to buy here.Cariad's book You Are Not Alone is published by Bloomsbury and is available to buy here.Cariad's children's book The Christmas Wish-tastrophe is available to buy now.Follow Sara & Cariad's Weirdos Book Club on Instagram @saraandcariadsweirdosbookclub and Twitter @weirdosbookclub Recorded and edited by Naomi Parnell for Plosive.Artwork by Welcome Studio. Hosted on Acast. See acast.com/privacy for more information.

Participants: John Steppling, Hiroyuki Hamada, Shaenah Batterson and Dennis Riches. Topics covered: The Trump-Zelenski feud, Freud and the working class, Russell Jacoby and psychoanalysis, Brecht, Film: A Complete Unknown—are biopics performed by actors or re-enactors? Who will save Europe from itself this time? RFK Jr.'s chances of success, in reforming Health and Human Services, Music track “The St. Louis Blues” by Bessie Smith (public domain).

Historia de un encuentro único y excepcional, de enorme valor artístico, social y humano, destinadas a marcar para siempre la historia del siglo XX.Escuchar audio

Im politischen Berlin ist zur Zeit nichts zu holen. Es werden wieder einmal Phrasen gedroschen, personalparteipolitisch gedealt, es müffelt und mieft und so richtig viel Begeisterung scheinen auch die Beteiligten nicht für sich zu spüren.Aber zum Glück besteht die Welt nicht nur aus Politikern, sondern auch aus Menschen, die uns anregen, statt aufregen. Die unseren Geist beflügeln, unseren Intellekt stimulieren, statt zu beleidigen. Berlin hat nicht nur Parteipolitiker zu bieten, sondern auch Künstler und Kulturschaffende.In diesem Achten Tag spricht Alev Doğan mit zwei herausragenden Künstlern: Lars Eidinger und Tom Tykwer. Ein Gespräch über das Filmemachen und Schauspielern, über Realitätsflucht und Sinnsuche, über Nietzsche und Brecht – und irgendwie auch über Sein und Nichtsein. Celebrating democracy - Freuen Sie sich auf einen Abend Infotainment und Live-Journalismus mit Erkenntnisgewinn - Tickets und Infos finden Sie hier. ID:{7hGcpMExTmTg2znkXfEkJr}

Everything's as if we never said goodbye, because we're back for our new season with a 2 part pre-season bonus! So join us to see if we've found new ways to dream as we talk about the Jamie Lloyd-directed revival of Sunset Boulevard--after all, she may just be the greatest star of all...--Of course, the musical is based heavily on the Billy Wilder movie, and this production even more so. But did you know it was also adapted for radio with the original stars?If you, like Christine, have been going down the rabbit hole in finding the meaning of everything in this production, check out this primer on Brecht and epic theatre.Or if you, like Cindy, have also been wondering why people keep congregating around a drugstore, it turns out Schwab's Pharmacy was more than just that.Check out this interview with Jamie Lloyd and Nicole Scherzinger about this production of Sunset (skip to around 53:00) and how it came to be.Today's the day!--Music featured in this episode:SUNSET BLVD: The AlbumApple Music / Spotify / Amazon MusicFairytale of New York - The Pogues--Follow us on Twitter and Instagram@BottomlessBway, our blog at https://bottomlessbway.home.blog, or email us at bottomlessbway@gmail.com! You can also leave feedback in this 30-second survey.

Laurens en Stefan gaan verder. De bus staat in Brecht. In de tuin van familie Vandeputte. Dossier Cross nummer zes alweer. Niemand minder dan de Niels des huizes, zit aan tafel. De mannen hebben het over de actualiteit, Oost en West Malle, Niels z'n eerste fiets en het aanstaande BK. En hoe zat het ook alweer met het Klak AF! Klassement? Je hoort het allemaal in de Live Slow Ride Fast podcast☕️ Begin het jaar goed en bestel meteen jouw Live Slow Ride Fast Gravel Grinder bonen op https://magistralecyclingcoffee.cc/coffee/ltd-gravel-grinder/ En om je nog even een zetje te geven: gebruik de code GRAVELGRINDER voor gratis verzendkosten.

I interviewed director Sister Sylvester about Drinking Brecht that showed at IDFA DocLab 2024. See the transcript down below for more context on our conversation. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality