Podcasts about federico garcia lorca

Philip Gulley, Peterson, and Sweet Miche share their personal journeys of unlearning traditional theological concepts and reflect on what makes Quakerism a meaningful path to a more authentic faith. Gulley highlights fear as a significant motivator for religious beliefs and a tool for control and how the current political moment is a masterfully evil manipulation of human fears. Gulley also offers his perspective on the continued usefulness of organized religion, emphasizing the importance of bringing people together, respecting personal autonomy, and aligning its social efforts with the ethos of Jesus and radical love. Philip Gulley is a Quaker pastor, writer, and speaker from Danville, Indiana.  Gulley has written 22 books, including the Harmony series recounting life in the eccentric Quaker community of Harmony, Indiana, and the best-selling Porch Talk essay series. Gulley's memoir, I Love You, Miss Huddleston: And Other Inappropriate Longings of My Indiana Childhood, was a finalist for the Thurber Prize for American Hor.  In addition, Gulley, with co-author James Mulholland, shared their progressive spirituality in the books If Grace Is True and If God Is Love, followed by Gulley's books If the Church Were Christian and The Evolution of Faith. In  Living the Quaker Way: Timeless Wisdom For a Better Life Today, Gulley offers the opportunity to participate in a world where the values of the Quaker way bring equity, peace, healing, and hope. In his most recently published non-fiction work, Unlearning God: How Unbelieving Helped Me Believe, Gulley describes the process of spiritual growth, especially the re-interpretation of the earliest principles we learned about God. Resources Here are some resources for friends in the process of unlearning and seeking spiritual growth: Therapy Therapy and spiritual growth can be deeply complementary. While therapy doesn't typically provide spiritual direction, it creates fertile ground for unlearning and spiritual development. You can use online therapist directories to find a therapist by location, insurance, specialty, cost, and more at Psychology Today, TherapyDen, or Open Path Psychotherapy Collective. Poets and Authors Audre Lorde is a profoundly influential Black lesbian feminist writer, poet, theorist, and civil rights activist. Her work powerfully explores the intersections of race, class, gender, sexuality, and ability. You can read her essays in Sister Outsider and her "biomythography" Zami: A New Spelling of My Name. Federico Garcia Lorca is one of Spain's most important poets and playwrights of the 20th century. His work is celebrated for its intense lyricism, surreal imagery, and passionate exploration of themes like love, death, desire, oppression, and Andalusian culture, particularly in works like Gypsy Ballads and plays such as Blood Wedding and The House of Bernarda Alba. Walt Whitman is a central figure in American poetry, often called the "Bard of Democracy." Whitman revolutionized poetry with his use of free verse and expansive lines. His lifelong work, Leaves of Grass, celebrates the individual, democracy, nature, the body, spirituality, and the interconnectedness of all life, aiming to capture the diverse spirit of America. Mary Oliver is an American poet who focuses on the natural world, particularly the landscapes of New England.  Her work finds wonder, spirituality, and profound insight in quiet observation and moments of attention to nature, inviting readers to connect more deeply with the world around them. Christian Wiman is a contemporary American poet and essayist known for his unflinching honesty and intellectual rigor in exploring themes of faith, doubt, suffering (often drawing on his own experience with chronic illness), mortality, and love.  Joy Harjo is a member of the Muscogee (Creek) Nation and served as the first Native American U.S. Poet Laureate. Her work weaves together Indigenous history, spirituality, myth, social justice, resilience, and a deep connection to the land, often infused with the rhythms of music and prayer. Akwake Emezi is a non-binary Nigerian writer and artist known for their powerful, innovative, and often genre-bending work. Their novels (like Freshwater and The Death of Vivek Oji) explore complex themes of identity, spirituality (often drawing on Igbo cosmology), gender, mental health, trauma, and the body, challenging conventional Western frameworks of selfhood. Elaine Pagels is a renowned historian of religion, particularly noted for her scholarship on early Christianity and Gnosticism. Her groundbreaking book, The Gnostic Gospels, brought non-canonical early Christian texts to wider attention, revealing the diversity of early Christian thought and exploring how political and social contexts shaped religious history and scripture. LGBTQ+ film festivals are events dedicated to showcasing films by, for, or about queer individuals and communities. They serve as vital platforms for representation, providing visibility for filmmakers and stories often marginalized in mainstream media. These festivals (like Frameline, Outfest, NewFest, and countless others globally) are also important spaces for community building and celebrating queer culture. Quaker Voluntary Service is a year-long program rooted in Quaker values. It brings young adults together to live in an intentional community, work full-time in social justice-focused non-profit organizations, and engage in spiritual exploration and leadership development, putting faith into action. Listener Responses We hear directly from Roxanne, who unlearned the idea that any single group holds the definitive spiritual answer, instead discovering valuable truths across diverse practices and traditions through their continuous seeking. On Facebook, friends shared their experience wrestling with the traditional ideas about God they grew up with. Many people mentioned letting go of a harsh or judgmental image of God, questioning core doctrines, and letting go of feelings of unworthiness. Thank you to Angela, Rae, Tim, Amy, Iris, Christine, Steve, David, Tyler, Joe, Deepak, and Whittier for sharing so openly with our question of the month. Question for Next Month Beyond a roof and four walls, what does the word 'home' mean to you? Share your response by emailing podcast@quakerstoday.org or call/text 317-QUAKERS (317-782-5377). Please include your name and location. Your responses may be featured in our next episode. Quakers Today: A Project of Friends Publishing Corporation Quakers Today is the companion podcast to Friends Journal and Friends Publishing Corporation content. It is written, hosted, and produced by Peterson Toscano and Miche McCall. Season Four of Quakers Today is Sponsored by: Friends Fiduciary Since 1898, Friends Fiduciary has provided values-aligned investment services for Quaker organizations, consistently achieving strong financial returns while upholding Quaker testimonies. They also assist individuals in supporting beloved organizations through donor-advised funds, charitable gift annuities, and stock gifts. Learn more at FriendsFiduciary.org. American Friends Service Committee (AFSC) Vulnerable communities and the planet are counting on Quakers to take action for a more just, sustainable, and peaceful world. AFSC works at the forefront of social change movements to meet urgent humanitarian needs, challenge injustice, and build peace. Learn more at AFSC.org. Feel free to email us at podcast@friendsjournal.org with​​ comments, questions, and requests for our show. Music from this episode comes from Epidemic Sound.  Follow Quakers Today on TikTok, Instagram, and X. For more episodes and a full transcript of this episode, visit QuakersToday.org.

Listeners should note that the following interview contains discussions about trauma as it relates to #MeToo.The work of director Ruth Caudeli regularly appears at the Queer Screen Mardi Gras Film Festival, with her previous films Eva and Candela and Leading Ladies both screening at the festival. Her latest film, Same, Again, makes its world premiere at the festival on 25 February 2025.This improvised drama follows a Colombian theatre troupe who join together to bring the play La Casa de Bernada Alba (The House of Bernada Alba) by Federico Garcia Lorca to life on stage. This play follows the impact of men upon women, which then becomes a textual point within Same, Again, as one of the guiding forces behind this staged appearance is a man.Same, Again deals with impactful themes of trauma, showing the power of coercion and control that takes place from the foundational aspects of putting on a play - as we see in some intense and controlling audition sequences which forces actors to put themselves into vulnerable situations - to the final performance. Throughout the play, the actors each expose their own vulnerabilities, insecurities, and exposure of their own past traumas. What results in a narrative that delves into male-created trauma, all the while giving agency back to those who have experienced pain.In the following interview, recorded ahead of the films world premiere at Queer Screen on 25 February 2025, Ruth talks about the foundational work of the film, what it means to be able to give space to trauma on screen, and about her work with long time partner Silvia Santamaría.Queer Screen continues its cinematic run until 27 February 2025, so you've got plenty of time to head along and catch a film in a cinema before this years festival heads online for the On Demand section of the festival, which runs Australia wide from 28 February to 10 March 2025. For all details, visit QueerScreen.org.au. Hosted on Acast. See acast.com/privacy for more information.

Listeners should note that the following interview contains discussions about trauma as it relates to #MeToo.The work of director Ruth Caudeli regularly appears at the Queer Screen Mardi Gras Film Festival, with her previous films Eva and Candela and Leading Ladies both screening at the festival. Her latest film, Same, Again, makes its world premiere at the festival on 25 February 2025.This improvised drama follows a Colombian theatre troupe who join together to bring the play La Casa de Bernada Alba (The House of Bernada Alba) by Federico Garcia Lorca to life on stage. This play follows the impact of men upon women, which then becomes a textual point within Same, Again, as one of the guiding forces behind this staged appearance is a man.Same, Again deals with impactful themes of trauma, showing the power of coercion and control that takes place from the foundational aspects of putting on a play - as we see in some intense and controlling audition sequences which forces actors to put themselves into vulnerable situations - to the final performance. Throughout the play, the actors each expose their own vulnerabilities, insecurities, and exposure of their own past traumas. What results in a narrative that delves into male-created trauma, all the while giving agency back to those who have experienced pain.In the following interview, recorded ahead of the films world premiere at Queer Screen on 25 February 2025, Ruth talks about the foundational work of the film, what it means to be able to give space to trauma on screen, and about her work with long time partner Silvia Santamaría.Queer Screen continues its cinematic run until 27 February 2025, so you've got plenty of time to head along and catch a film in a cinema before this years festival heads online for the On Demand section of the festival, which runs Australia wide from 28 February to 10 March 2025. For all details, visit QueerScreen.org.au. Hosted on Acast. See acast.com/privacy for more information.

#onderoad oggi è virtualmente in Andarocco (gli ascoltatori di Radio Popolare potranno andarci veramente dal primo al 10 aprile: https://www.viaggiemiraggi.org/.../viaggio-in-spagna-e.../ ). Granada: il passato andaluso e il mondo di Federico Garcia Lorca. La tortilla del Sacromonte e la Zambra, un'ibridazione tra la danza del ventre e il ballo flamenco. Marinaleda: uno scampolo andaluso di socialismo reale Siviglia: in bicicletta lungo le rive del Guadalquivir e una camminata sopra la città passeggiando su Las Setas. Le tapas e un bicchiere di Fragata Tangeri: la Terrasse des Paresseux (Terrazza degli oziosi) e il Grand Socco, il vento e la luce, hummus e tehina da spalmare sul pane arabo. A cura di Claudio Agostoni

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Lo zorongo Gitano non è esattamente un palo flamenco, ma una canzone che viene dal repertorio popolare andaluso. Ha una melodia popolare semplice. Si suona por medio in modalità flamenca, quindi è facile da afflamencare. Abbiamo una sola forma di letra e un estribillo, e questo indica che non si è sviluppato molto. Non si sa gran che delle sue origini, forse le sue radici antiche sono da ricercarsi in balli africani provenienti dal Congo. Non è una follia, dato che nel porto di Cadice e nel porto di fiume di Siviglia passavano tutti i commerci dalle indie e dall'Africa, inclusi gli schiavi diretti alle Americhe.In effetti la parola stessa non suona molto europea!Che fosse un ballo di schiavi africani lo dicevano i pliegos de cordel, antichi libretti che venivano venduti in una sorta di edicola ante litteram: fogli stampati, piegati appesi su una cordicella in vendita. Raccontavano storie, poesie, aneddoti. Probabilmente lo zorongo era un baile gitano, sulla scia della zarabanda, della quale era una versione meno volgare, più morigerata. Si ballava a coppie, nelle zambras del Sacromonte di Granada. Ce ne parla Faustino Nuñez, il flamencologo di cui sempre ti parlo, nel suo libro "Guia comentada de musica y baile preflamencos (1750-1808)", come una parte importante del folklore spagnolo. Ci parla di una letra antica: "!Ay, zorongo, zorongo, zorongo! Que lo que mi madre me compra me pongo, que si me compraba una camisita que llena de encajes que por las manguitas que toma zorongo"  Ahi zorongo, che quello che mi compra mia madre io me lo metto, che se mi avesse comprato una camicetta con le maniche di pizzo, que toma (espressione intraducibile, che significa qualcosa come "ecco!"). Comunque anche con questa strofa non si capisce il significato della parola! Probabilmente è un suono divertente. La parola stessa indica un fazzoletto triangolare usato come bandana.All'inizio del 900 viene praticato dai gitani del Sacromonte soprattutto come danza. Il ritmo era ternaio, come tutto il folklore spagnolo. Le strofe parlano di amore non corrisposto, di cui però si è molto fieri. Importantissimo a riguardo il lavoro di Federico Garcia Lorca. Il sommo poeta raccolse le strofe di canti popolari antichi spagnoli, e li incise in una collezione di 5 dischi per il grammofono, per l'etichetta "La voz de su Amo" (La Voce del Padrone) nel 1931, arrangiandone la musica, e suonandola al piano personalmente. Ad accompagnarlo, al canto, nacchere e zapateo, La Argentinita. Ogni disco conteneva due brani, uno su ogni lato, e uno di questi era proprio lo zorongo.La collezione ebbe un enorme successo e salvò dall'oblio molte canzoni popolari antiche. Lo zorongo in effetti come tale venne dimenticato, ma venne da lì in poi ricordata la versione del poeta, che ne compose anche qualche strofa, oltre a ricostruirne di popolari: se ascolti le strofe di zorongo gitano, ti rendi conto che non possono essere di tradizione popolare, perché contengono parole troppo ricercate e immagini non banali. Ad esempio la strofa famosa: "las manos de mi cariño estan bordando una capa con nagréman de alhelies y con esclavinas de agua" (le mani del mio amore stanno ricamando un mantello con passamanerie di violacchiocche e con mantelline di acqua)... non è propriamente linguaggio popolare!Esistono parecchie strofe poetiche por zorongo, ma la melodia è sempre la stessa. Inoltre c'è un ritornello. Che nella versione del 1931 non viene neppure cantato ma soltanto suonato al piano e ripetuto ritmicamente dal zapateo de la Argentinita. Il poeta però scrisse le parole del ritornello. La voce di Argentinita ci fa capire che nel flamenco ognuno canta.. con la voce che ha! E che non esiste una estetica della voce! Antonio el bailarin, Antonio Ruiz Soler, nel 1964 lo ballò con Marisol, Pepa Flores, sul canto della stessa Marisol, nel film "La nueva cenicienta". Il film era stato fatto con il proposito di lanciare Marisol sul mercato cinematografico internazionale, e infatti fu diretto da un regista americano che era solito produrre film western. Non ebbe molto successo, forse anche perché Marisol non era più la bambina prodigio dei tempi in cui divenne famosa. Però il fatto che sia stato registrato lo zorongo in questo film ci dice che il brano era molto noto, e forse anche questo intervento di Antonio el bailarin lo rese ancor più famoso. Nel modo di cantare di Marisol si sente molto il gusto di canto che c'è nella storia della copla spagnola. Il ritmo è il solito ritmo 123 123 12 12 12, tipico del folklore spagnolo, e che chi conosce il flamenco sa che è molto diffuso. Nelle orecchie questo ritmo ce l'hai già: ascolta la colonna sonora di West Side Story! Leonard Bernstein ha preso questo ritmo proprio dal folklore spagnolo!Un ritmo ternario di amalgama, suonato in modo flamenco, in tono di la minore... suona molto flamenco! Ed è molto facilmente afflamencabile!Ti faccio ascoltare l'introduzione con gli "y" tipica por Caña o Policaña o Polo (che sono altri palos del flamenco), per la voce di José de La Tomasa, che è praticamente la stessa melodia del ritornello dello zorongo. Comunque questa sequenza di suoni è basata sulla cadenza andalusa, che è proprio la atmosfera tipica delle sonorità musicali spagnole. Ascoltiamolo insieme al ritornello di zorongo!Ti faccio sentire una registrazione di uno Zorongo cantato da Teodoro Perez Villanueva un cantaor sivigliano storico, che raccoglie in sé la storia del flamenco. Classe 1912, è l'esempio di un'epoca. Per la chitarra di El Pucherete. Questo audio viene da una trasmissione televisiva del 1973, emessa dalla televisione spagnola Tve, dallo storico tablao Torre Bermeja di Madrid. Voce forte potente e chiara. La sua versione dello zorongo è molto bella e personale. Parlando dello zorongo non ci possiamo dimenticare della versione che mne fece nel 1993 Carmen Linares, con il disco Canciones populares antiguas, con la collaborazione di musicisti eccezionali (Miguel Angel e Paco Cortes alla chitarra, Javier Colina al contrabbasso, Bernardo Parrilla al violino, Juan Parrilla al flauto). La grande particolarità è che Carmen lo canta il 4/4 come se fosse un tango, e la sua versione ha fatto scuola. Sono Sabina Todaro, mi occupo di flamenco e danze  e musiche del mondo arabo dal 1985. Dal 1990 insegno baile flamenco e Lyrical Arab Dance, un lavoro sull'espressione delle emozioni attraverso le danze e le musiche del mondo arabo al Mosaico Danza di Milano. Mi sono più volte cimentata con lo zorongo insegnando, e il tema è davvero facile da ricordare. Interessante è il ritornello che può essere cantato molto lentamente come introduzione, ed è molto espressivo! La danza può far riferimento alla danza spagnola, se viene fatto in 12 tempi con il ritmo ternario originale, o si assimila ad un tango flamenco. Ha una identità non particolarmente individuata, proprio perché non ci sono tante melodie: infatti non si tratta di un vero e proprio palo flamenco ma di una canzone afflamencata.Ascoltalo e.. formati il tuo gusto personale!

Prima di ascoltare questo podcast ti consiglio di andare ad ascoltare i due precedenti, in cui ho parlato delle origini e dell'evoluzione della Petenera in tempi più antichi.Questo podcast parla di come la Petenera si è evoluta fino ai nostri giorni.Ascoltiamo diversi esempi, partendo dalla petenera più antica mai incisa, del Mochuelo, edita da Gramophone nel 1899. La registrazione viene dall'archivio della Sociedad Pizarras, che fa un lavoro incredibile di recupero dei dischi antichi che vengono messi on line a disposiizone di tutti su youtube invece che buttati in discarica. Fra l'altro io sono socia, e tu puoi associarti, o per lo meno sostenere la Sociedad seguendo il canale youtube.Ascoltare dischi antichi pieni di click e fruscii non è facile ma sono dei gioielli incredibili, ed è molto prezioso ascoltarli.La petenera più antica era quella di Medina el Viejo, che però non ha inciso nulla ma possiamo ascoltare una registrazione fatta da suo figlio, El Nino Medina, accompagnato dal chitarrista Ramon Montoya, un mito della storia del flamenco.Ascoltiamo anche un esempio della bellissima voce di Juan Breva, che aveva imparato a cantare la petenera dal Nino Medina, collega di spettacolo nei locali. Juan Breva, classe 1844 o forse 1846, era bravissimo e molto famoso, nacque a Velez Malaga, ed ebbe grande successo a Malaga e poi a Madrid. Personalizzò il cante di Medina el Viejo, e probabilmente fu lui a rendere famosa questa melodia, La seconda strofa cantata dal Mochuelo nella registrazione del 1899 è proprio la petenera di Juan Breva, in una versione più rapida e leggera, "commerciale". Come mai ci fu questa evoluzione da allora ad oggi? La petenera di quell'epoca a cavallo fra 800 e 900 era molto diversa. Grande responsabilità fu quella di Pastora Pavon la Nina de los Peines, che imparò il cante por petenera di Medina attraverso el Nino Medina, grazie a suo fratello, Arturo Pavon, che non divenne un cantaor famoso perché non amava esibirsi in pubblico. Tutto ciò che Pastora cantava diventava meravigliosamente flamenco e molto artitico e profondo. Petenera inclusa! Ascoltiamo un esempio di una letra dello stile che viene attribuio proprio a lei. Il suo cante era molto più lento e molto meno ritmico. Anche Antonio Chacon fece molto per la storia della petenera. Cantava due letras di petenera di Medina el Viejo e una di propria creazione (qualche flamencologo dice che non fu lui a creare questa forma specifica, ma fatto sta che la cantava lui). Non possiamo ascoltare Chacon che canta Petenera perché purtroppo non ci sono registrazioni sue, ma possiamo ascoltare il suo stile cantato da Alfredo Arrebola. Per fortuna il flamenco cita spesso se stesso!Il modo di cantare di Chacon è stato tramandato tantissimo non solo da Chacon stesso ma dal suo chitarrista, Perico el Del Lunar, che fra l'altro ha gestito la famosissima antologia del Cante Flamenco edita da Hispavox negli anni 50 che è stata una pietra miliare del cante flamenco, punto di riferimento per tutti i cantaores a venire. Ascoltiamo anche Rafael Romero El Gallina accompagnato da Perico, che canta allo stile di Chacon. El Gallina ha educato altri cantaores a cantare allo stile di Chacon, come Bernardo de los Lobitos, Pericon de Cadiz o Pepe de la Matrona.Ci sono anche creazioni personali di Petenera, interessanti. C'è quella suonata da Federico Garcia Lorca al piano e cantata da la Argentinita, ripresa da Carmen Linares. TI faccio ascoltare entrambe le versioni, ma prima di quella di Carmen Linares nel disco "Canciones populares antiguas", ti faccio ascoltare la stessa Carmen che canta El Pano Moruno, che molti vedono come un predecessore della petenera. Sentirai gli elementi in comune.La stessa Carmen Linares ci regala un'altra strofa incredibile di petenera, bellissima, nel Cd La Luna y el Rio. La letra parla di tema ebraico. Spendiamo due parole per la salida del cante. Anticamente si faceva, ed era molto breve (forse perché il tempo a disposizione per le registrazioni era cortissimo), soltanto prendere la nota. Oggi in pratica non si fa più. Altra cosa su cui riflettere è il fatto che la petenera ha fama di portare sfortuna. Questa superstizione nacque probabilmente a metà del 900, quando nell'opera teatrale La Cabalgata durante la tournee a Londra dello spettacolo, mentre veniva cantata la Petenera, la ballerina Mari Paz doveva interpretare una donna di nome petenera, morta e in corteo funebre, ma la ballerina morì davvero e lo spettacolo venne interrotto. Forse i cantaores hanno questa superstizione a causa del legame fra questo cante e la tradizione ebraica, per pregiudizio.In realtà i  cantaores gitani, che sono anche superstiziosi, l'hanno cantata, come la Nina de los peines o lo stesso Camaron de la Isla.Probabilmente la questione è che il cante por petenera è molto difficile sia emozionalmente che tecnicamente E non tutti riescono a cantarlo!Sono Sabina Todaro, mi occupo di flamenco e di danze e musiche del mondo arabo dal 1985 e dal 1990 insegno a Milano baile flamenco e Lyrical Arab Dance, un lavoro sull'espressione delle emozioni attraverso le danze del mondo arabo.Insegnando amo tantissimo montare beiles por petenera e anche usare questo palo per fare esercizi. Per un bailaor, è di grande ispirazione per lavorare sulla danza in modo espressivo. Consiglio assolutamente di ascoltare il meraviglioso lavoro di Carmen de la Jara, che forse è l'unica cantaora che nel suo repertorio oggi conserva tutte le melodie della storia della petenera.

65 -Evènementiel et culture du 13/01au 20/01/2025 (détails dans podcast)« Contes en hiver » du 18/1 au 15/2 (Ligue de l'Enseignement 65)- AP « Il était une fois…les langues » par Robin RECOURS le 18/1 à 18h, médiathèque Louis AragonConférences :- « Préserver l'eau, l'affaire de tous » par Mme ARGENTIN, Présidente régionale de France Nature Environnement, le 16/1 à 18h30, Bourse du Travail- Appel d'Air « La manufacture de l'eau » par Richard SABATIER le 16/01 à 18h , Palais des Congrès Lourdes- « La relativité générale – gravitation, trous noirs » par Dominique PLEE le 16/01 à 18h, Espace Gare Argelès- « Le Mérite agricole, reflet de l'agriculture en France et dans les Hautes-Pyrénées depuis le XIX° siècle le 17/1 à 18h, Bourse du Travail"Découverte de la philosophie de SPINOZA" par Hugues PROUVOST le lundi 20/1 à 14h30, Hôtel de Journet Vic en Bigorre43° édition des Petits As – Le Mondial Wilson du 16 au 26/1, Parc des expositions TarbesSalon du Mariage les 18 et 19/1, parc des expos halls 3 et 4Présentation de l'Association Les Chiens du Silence (ACS) le 14/1 à 15h à la Résidence Arpavie le Stade Tarbes6° édition du Salon TAF le16/1 de 9h à 17h, Espace Robert Hossein Lourdes 50 ans station ski Luz-Ardiden du 17 au 19/1 – voir lien 50 Ans de Luz Ardiden 17-19 janvier 2025 | Week-end anniversaireSPECTACLESParvis :- « Richard III » les 16 et 17/1 à 19h- « La Barbe Bleue » le15/1 à 15 et 17h au Studio(Parvis) et le 18/1 à 18h à Vielle-Aure- « Requiem- La Mort Joyeuse » le 20/1 à 20h30La Gespe : « Ôzam » au Pari le 14/1 à 20h30Théâtre des Nouveautés : « Le Prénom » le 17/1 à 20h30Pari : répétition publique « Solo d'humeur russe pour actrice émotionnellement élastique » le 18/1 à 14hMDA Quai Adour : Les dimanches chez Mr Sarrazin avec « Le choix »le 19/1 à 16hMatch improvisation le 17/1 à 20h30 par la Compagnie des ImprosteursCentre Albert Camus Séméac : « Les crapauds fous » » le 18/01 à 20h30Conservatoire Henri Duparc :- « Lo Bal del Lop » le 17/1 à 19h avec Guillaume LOPEZ- Concert l'Harmonie du Trad le 18/1 à 20h30 au Théâtre des NouveautésEcla Aureilhan : »Un fil à la patte » le 19/1 à 15h30Palais des Congrès Lourdes : « La nuit des enfants » le 18/1 à 20h30Maison du Savoir St Laurent de Neste : « Kaléidoscope »le 17/1 à 18h30Paradis des Artistes Maubourguet :Concert hommage à Federico Garcia Lorca avec « Pat y picos » le 18/1 à 19h30Petit Théâtre de la Gare Argelès : « Mamzel Bou, concert sans gluten » le 18/1 à 20h30Salle fêtes Andrest : « Les Pogaclinados » le 1//1 à 21h (Les Victambules)Salle fêtes Bénac : Concert des Petites Pierres qui Roulent et des Pierres qui Roulent le 18/1 à 20h30Eglise de Castelnau Rivière Basse : Concert de 3 chorales le 18/1 à 16hEglise Ste Marie de Campan : concert d'Epiphanie le 18/1 à 19hEglise St Vincent Bagnères ; concert du Nouvel An chorale du secteur de Haut-Adour le 19/1 à 17hCinéma : (détails podcast) Atelier cinéma UTL le 16/1 à 15h15 au Parvis, « Ciné-voyageurs » le 13/1, salle fêtes Arras en Lavedan, ciné-conférence « Les Baléares' le 20/1 à 14h30 et 17h30 au CGRExpositions (toutes les expositions dans podcast)Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Federico Garcia Lorca, l'un des plus grands poètes espagnols du XXe siècle, est exécuté le 19 août 1936 par des phalangistes près de Grenade, dans le contexte de la guerre civile espagnole. Né en Andalousie dans une famille bourgeoise, il développe une sensibilité artistique inspirée par le folklore local et les minorités discriminées, comme les gitans. Proche de Salvador Dalí et Luis Buñuel, Lorca participe à un renouveau artistique audacieux à Madrid dans les années 1920. Engagé politiquement, il soutient la Seconde République espagnole et dirige La Barraca, un théâtre itinérant promouvant la culture dans les zones rurales. Son œuvre, marquée par la défense des opprimés, le place au cœur de la scène intellectuelle. Cependant, son homosexualité et son engagement républicain en font une cible des franquistes lors de la guerre civile. Son assassinat reste un symbole tragique de l'oppression et son héritage artistique perdure comme un pilier de la culture espagnole. Merci pour votre écoute Vous aimez l'Heure H, mais connaissez-vous La Mini Heure H https://audmns.com/YagLLiK , une version pour toute la famille.Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/22750 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : Un jour dans l'Histoire : https://audmns.com/gXJWXoQL'Histoire Continue: https://audmns.com/kSbpELwAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvVous aimez les histoires racontées par Jean-Louis Lahaye ? Connaissez-vous ces podcast?Sous le sable des Pyramides : https://audmns.com/rXfVppv36 Quai des orfèvres : https://audmns.com/eUxNxyFHistoire Criminelle, les enquêtes de Scotland Yard : https://audmns.com/ZuEwXVOUn Crime, une Histoire https://audmns.com/NIhhXpYN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

De Sitges estant, una revista sacsejà la cultura catalana durant el primer quart del segle XX. La revista fou 'L'Amic de les arts'. Dirigida per Josep Carbonell i Gener, a les seves pàgines es reuniren personalitats com Federico Garcia Lorca, J.V.Foix, Paul Elouard, Magí A. Cassanyes, Sebastià Gasch o Salvador Dalí, qui amb Gasch i Lluís Montanyà publicà el 1928 el cèlebre 'Manifest Groc', una veritable declaració d'intencions de rebuig a la cultura establerta. L'exposició, situada a la sala vaixells del Palau Maricel, presenta, a més d'un extens recull documental sobre la revista, un ventall d'obres d'artistes, escriptors i crítics, de Lorca a Gargallo, passant per Pere Jou, Artur Carbonell, Dalí, Agustí Ferrer Pino, Miró, Alfred Sisquella o Joan Miró. El cap de col·leccions dels museus de Sitges, Ignasi Domènech, ens la presenta. Demà divendres, 22 de novembre, la podreu veure gratuïtament de 10 a 17h. L'entrada Els museus de Sitges dediquen una exposició al paper fonamental de la revista ‘L’Amic de les arts’, referent de l’avantguardisme a Catalunya ha aparegut primer a Radio Maricel.

Eigentlich spielten Kinder in der Lebensplanung des beruflich erfolgreichen und wohlsituierten Paares bislang keine Rolle. Doch jetzt möchte SIE das Projekt Kind angehen. Er hat auch nichts dagegen. So weit so gut. Doch mit jedem Monat, in dem SIE wieder nicht schwanger geworden ist, arbeitet SIE verbissener an dem Plan und richtet das ganze Leben danach aus. Ihr Kinderwunsch wird zur alles zerstörenden Obsession. Simon Stone hat »Yerma« nach Motiven von Federico Garcia Lorca geschrieben. Im Zentrum steht das Drama der ungewollt kinderlos bleibenden Frau. War es bei Lorca eine Bäuerin im katholischen Spanien der 30er Jahre, deren Frau-Sein untrennbar an das Gebären von Kindern gebunden war, ist es bei Stone eine erfolgsverwöhnte Großstädterin, die ein Scheitern nicht akzeptiert, wenn SIE sich einmal etwas in den Kopf gesetzt hat. Die Geschichte geht unter die Haut, soviel sei schon verraten. Hören Sie in unserem Podcast in einzelne Szenen hinein. Außerdem hat sich Podcasterin Katja Schlonski mit Regisseur Elias Perrig, Hauptdarstellerin Juliane Schwabe und Schauspieler Nils Brück unterhalten. Die beiden spielen ein Paar, das sich durch den unerfüllten Kinderwunsch in einem Albtraum wiederfindet.

durée : 00:07:28 - L'Instant poésie - Clara Ysé a choisi de nous faire entendre le poème "Complainte de la peine sombre', de Federico Garcia Lorca, un auteur et un compositeur qu'elle adore.

Read by Terry Casburn Production and Sound Design by Kevin Seaman

Read by Terry Casburn Production and Sound Design by Kevin Seaman

Read by A.J. Kline Production and Sound Design by Kevin Seaman

In the '80s and '90s, many Puerto Rican poets who lived in the contiguous United States wrote within a fixed aya and aca/mainland vs. island story. The island was home. Jane Alberdeston Coralin and other contemporary Puerto Rican poets approach their selves, memories and bodies as home. And: Latin American literature of the 60's was complex and required active readers. By the 70s and 80s, the literature had conformed to the demands of the marketplace: it was localist, exotic and saturated with magical realism. Tomás Regalado-López says that the 1996 Crack Movement transformed the marketplace for Latin American writers. It shifted things from a narrow stereotype to a land of endless possibilities. Plus: In the 1950s, a Californian poet named Jack Spicer did something wonky. He wrote the introduction to his book in the voice of long deceased poet Federico Garcia Lorca. And he took liberty to translate Lorca's work as he wished. Scott Challener says that this inspired a generation of poets to approach translation as correspondence.

 La Llave de oro del cante flamenco è un riconoscimento particolare che è stato consegnato soltanto a 5 cantaores nella storia. Non si sa chi lo abbia progettato e forse è il più antico premio flamenco. La storia del flamecno è costellata di cantaores bravissimi, ma soltanto 5 sono stati premiati con la LLave. In teoria sarebbe un premio legato alla diffusione dei valori tradizionali del cante, ma non è mai esistito un canone preciso per attribuirlo.La prima llave del cante è stata data a Tomas el Nitri, un cantaor gitano gaditano, del Puerto de Santa Maria, parente del famosissimo cantaor delle origini El Fillo. Era un personaggio molto nervoso, e probabilmente di sfogava cantando, quindi apportò molto alla siguiriya, che appunto per lui era un urlo. El Nitri era molto in disaccordo con l'operato del famosissimo Silverio Franconetti, il cantaor che professionalizzò per primo il cante, creando locali in cui ci si potesse esibire appunto professionalmente: i Cafés Cantantes. El Nitri non amava che il flamenco uscisse dall'ambito originario del cante gitano. Probabilmente la chiave era copia della chiave del recinto dei tori dell'arena di Malaga, e la vediamo nell'unica immagine che esist del Nitri, che posa seduto, appunto con la chiave in mano. Il premio gli fu consegnato forse nel 1868, forse a Malaga, o a Carmona o a Jeréz... la storia è avvolta dal mistero. E sembra probabile che gli sia stata data dai suoi stessi ammiratori,e non da una autorità. Nella storia del flamenco questa attribuzione di un riconoscimento ad un cantaor gitano è stata una maniera di sottolineare la maggiore valenza del cante gitano su quello payo. Diatriba che esiste ancora oggi, nonostante non si possa certo più parlare ufficialmente di questioni razziali nell'arte, per essere politically correct!El Nitri morì nel 1977, e la Llave de oro non venne attribuita a nessuno per quasi 50 anni. Ti racconto come andò: la storia è interessante!Nel 1922 a Granada diverse autorità, capitanate dal Comune di Granada e da due illustri artisti, Federico Garcia Lorca e Manuel De Falla, poeta l'uno e musicista l'altro, ambedue molto appassionati al flamenco, istituirono un primo Concorso di cante jondo. L'appoggio musicale tecnico del flamenco fu richiesto a Manuel Torre e ad Antonio Chacon, due giganti del flamenco dell'epoca (e non solo!).Nel 1925 gli impresari che gestivano il teatro Pavon a Madrid decisero di cavalcare l'onda del successo del concorso di Granada e crearono la Copa Pavon, un concorso di cante flamenco al quale dsi presentarono cantaorres illustri dell'epoca: El Mochuelo, El  Niño Escacena, Pepe Marchena, El Cojo de Malaga, Manuel Vallejo. Manuel Vallejo vinse di gran lunga su tutti. Si può certamente riconoscere che sia stato uno dei migliori cantaores della storia del flamenco. Ha cantato benissimo qualsiasi cosa! Puoi cercare le sue registrazioni sul canale Flamendro della Sociedad Pizarras!L'anno successivo, nella seconda edizione il premio venne dato a Manuel Centeno, un cantaor sicuramente non di primo rilievo, per le sue saetas. Probabilmente questa scelta fu fatta per motivi politici. Antonio Chacon, cantaor che aveva un potere molto forte riguardo alla ufficializzazione del flaemnco e alla sua relazione con le autorità pubbliche, capitanò un gruppo di altri artisti per ribellarsi contro questa scelta non flamenca, e decisero di insignire Manuel Vallejo di un premio importante. Qualcuno pensò alla Llave de oro. Nel 1926 Manuel Vallejo venne insignito del premio, per la gioia dei suoi ammiratori, del flamenco, ma anche degli impresari del teatro Pavon, dato che questo creò un gran fermeto e una grossa pubblicità verso il teatro. Antonio Mairena, di cui ti parlerò fra qualche secondo, giudicò questa scelta dicendo che c'erano molti interessi politici e anche interessi personali di Manuel Torre e di Chacon, forse perché Vallejo non era gitano (e neanche Chacon!), mentre Mairena lo era ed era molto orgoglioso di esserlo, difendendo il cante gitano a spada tratta. In pratica mise in discussione l'autorità di Manuel Vallejo. Manuel Vallejo morì nel 1960 e gli organizzatori del Concorso Nazionale di Cordova decisero di fare una gara per attribuire la chiave ad un altro cantaor meritevole. Era il 1962. I partecipanti a questa gara furono nomi di enorme importanza: Fosforito, El Chocolate, Juan Varea, Pericón de Cádiz, Platero de Alcalá e Antonio Mairena. Antonio Mairena viene insignito del premio, non solo per i suoi cantes ma anche per il valore che aveva questo cantaor nella diffusione del cante e alla cultura del flamenco. Ne parleremo in un podcast dedicato, perché Antonio Mairena è un gigante della storia del flamenco. Molti dissero che il concorso sia stato pilotato proprio per far vincere Antonio Mairena e dar valore alla sua posizione riguardo alla storia del flamecno, al modo di cantare, sostenendo quindi iil mairenismo, una corrente artistica nel flamenco che si basò sulle opinioni di Antonio come unica verità. Fino ad oggi la sua influenza nel cante è enorme. Cantaores cone Manolo Caracol o Pastora Pavon, la Niña de los Peines erano stati esclusi, nonostante la loro indiscutibile bravura.Antonio Mairena morì nel 1983, e da allora il premio non venne attribuito a nessuno fino al 2000, anno in cui si decide di destinarlo postumo a José Monge Cruz, Camaron de la Isla. N3el 2000 Camaron avrebbe compiuto 50 anni e la giunta della provincia di Cadice (Camaron era di San Fernando, in provincia di Cadice) volle dargli un riconoscimento, e venne quindi attribuita a lui la Llave de oro del cante, con consegna nelle mani de La Chispa, Dolores Montoya, la moglie del cantaor. Questa attribuzione è stata molto criticata perché il cantaor era morto, e non era l'unico cantaor importante ad essere morto! Inoltre era un profondo conoscitore del cante tradizionale ma nella sua produzione artistica se ne distaccò a piacere! La Llave del cante successiva, l'ultima, venne attribuita nel 2005 a Antonio Fernandez Diaz Fosforito, cantaor cordobese, di Puente Genil, importante anche per l'impulso che ha dato allo sviluppo di alcuni palos, come la Bambera, la Solea Apola e lo Zangano, che è il fandango abandolao della sua città, Puente Genil, e ha sostenuto lo sviluppo del flamenco.E' un cantaor che ha messo in pace tutti! Il premio è stato attribuito a Fosforito dal Ministero della cultura e su suggerimento dell'associazione delle peñas de Andalucia. Un premio così importante,così legato alle tradizioni, attribuito in modo così discontinuo e con litigi e vantaggi personali, politici... è incredibile! D'altra parte il flamenco ha tanto a che fare con l'emozionalità ma anche con la politica ed il potere.Sono Sabina TodaroRifletto sempre sulla storia del flamenco e rifletto molto su musica, storia, psicoogia, espressione, cutura... e lego tutto al flamenco. Questo è un podcast molto "storico", ma mi faccio comunque delle domande: come mai un premio tanto importante è stato attribuito in modo discontinuo, persino ad un cantante deceduto, escludendone tantissimi super importanti, da Enrique Morente a Antonio Chacon alla Niña de los Peines, a Manolo Caracol... E il criterio di attribuzione è assolutamente misterioso!E' chiaro che ad un certo punto, dato che Fosforito sta per per compiere 92 anni e non potrà mantenere il premio nelle sue mani ancora molto a lungo, il premio andrà attribuito a qualcun altro. E io credo che la prossima artista potrebbe essere Carmen Linares, anche perché la Spagna, cheè stata per tatno tempo machista e maschilista, potrebbe così colmare l'ingiustizia di non aver attribuito il premio a nessuna donna finora e Carmen se lo meriterebbe pienamente. 

In this episode of "This is Not a Poem," host Elliott KB speaks with writer and translator Andy Schaefer about translating Federico Garcia Lorca's poem "Café Cantante." They delve into the intricacies of translating Lorca's imagery and themes, as well as the vivid visual and emotional depth in the poem. Andy reads both the original Spanish poem and her English translation, capturing Lorca's evocative style.

In this week's Tommie-less episode, Patrick welcomes back Indiana Johnson and Avery Bryce Dallas Howard Powell, who make a big announcement, plus they celebrate the Long Island Roller Rebels' victory in court, meet the Indian pariah dog, discuss delicious pet names, wish a Happy Birthday to gay poet Federico Garcia Lorca and performance artist Laurie Anderson, say goodbye to one of the last members of Hollywood's Golden Age, watch Elvis Presley cause a scandal, order some fries for National Ketchup Day, take a swig for National Moonshine Day, look at the aftermath of the Trump criminal trial verdict, wonder if Congressman Byron Daniels knows what "Jim Crow" means, and name their favorite 21st century queer films.

Mail Bag Here We're back in action this week again with another wrap-up episode of the best of what we read and watched in May 2024: Introduction and Weeks (0:00) Mailbag and Op-Ed (12:19) Sympathy for Mr. Vengeance featured in Ep. 15 Books we read (17:22) Federico Garcia Lorca by Ian Gibson Animal Farm by George Orwell Every Heart a Doorway by Seanan McGuire Blood Meridian by Cormac McCarthy La Nochevieja de Montalbano by Andrea Camilleri Movies we watched (32:46) The Addams Family (1991) Red River (1948) The Blues Brothers (1980) My Neighbor Totoro (1988) Evil Does Not Exist (2023) ¡Three Amigos! (1986) City Lights (1931) When Marnie Was There (2014) Challengers (2024) Perfect Days (2023) Ivan's Childhood (1962) Furiosa: A Mad Max Saga (2024) Mad Max: Fury Road (2015) Coming Up on the Pod (1:21:54) Our Album Recs (1:23:09) Ladies of the Canyon -Joni Mitchell A Sailor's Guide to Earth -Sturgill Simpson Thanks for listening !

65 -Evènementiel et culture du 03 au 10 juin 2024 (détails dans podcast)« Tarba en canta » Festival International de Polyphonies du 5 au 9 juin 2024A Tarbes, Ibos, Juillan et Séméac Programmation complète avec ce lien Programme-jour-par-jour-2024.pdf (tarbes-tourisme.fr)2° édition de « Plumes et pinceaux »Manifestation autour de l'écriture et des arts plastiques les 8 et 9 juin à St Sever de Rustan« Les Itinérantes d'Arcane 17 » du 5 juin au 20 juillet 2024 dans divers lieux du départementOuverture le 5 juin à 18h30 aux Editions Arcane 17 - 19h30 présentation recueil poèmes Pierre MELENDEZRDV Polar le 4 juin à 18h30 à la Médiathèque Louis Aragon à Tarbes avec Stéphane LABORDERDV du Livre Pyrénéen d'Aure et de SobrarbeVisite carrières de marbres d'Ilhet et de Beyrède le 7 juin – départ OT St Lary à 9 hConférences- « L'Art Espagnol » le 8 juin à 17h30 – salle conférences Mairie St Lary- « Ce qui nous lie e(s)t ce qui nous oppose » le 8 juin à 15h à l'Atelier 20 (exposition « Les liens »)- « Comment vivre dans un monde complexe ? » le 10 juin à 15h par Laurent BIBARD – Hôtel de Journet à Vic en BigorreFestival du « Lien » à Ibos du 6 au 9 juin « Faisons le lien avec le monde de demain »5° édition « Estivales de Tango » du 7 au 9 juin au Casino de Bagnères de Bigorre«Total Festum » les 7 et 8 juin à HagedetSPECTACLES ((détails podcast)Parvis : « SALTI » le 5 juin à 15hThéâtre Nouveautés : « Las Lopez » le 8 juin à 19hConservatoire Henri Duparc : Concert de musique de chambre le 7 juin à 18h à l'Auditorium Gabriel FauréConcert du département de musique ancienne le 7 juin à 20h30, église de SarrouillesCartel Bigourdan : « Escale Electro n°3 » le 8 juin à 18h à l'Abbaye de l'EscaladieuCAC Séméac : spectacle « Tarba en Canta » le 6 juin à 20h30Théâtre avec la Cie Les Pieds dans le plat le 7 juin à 20h30 et le 8 juin à 20h30Petit Théâtre de la Gare – Argelès : « Federico Garcia Lorca » avec Pat y Picos le 8 juin à 20h30CAC Jean Glavany – Maubourguet : «Fête du théâtre » (Théâtre des 7 chandelles) le 8 juin a/c de 17h30MJC Vic en Bigorre : la MJC en fête le 8 juin a/c de 14h, à 21h prestations à l'OCTAVConcerts (détails podcast) :Concert Valery Orlov le 5 juin à 20h30 église BarègesConcert Les Chanteurs des Baronnies le 7 juin 20h30, église Ste Trinité Capvern les BainsConcert Accordéon Club de Lourdes le 8 juin à 20h30, église des Templiers Luz St SauveurEglise St Lary Soulan : concert “Au fil des cordes » le 5 juin à 21h, concert Chorale d'Aragnouet le 6 juin à 21h,« Les Bérets bleus » le 7 juin à 21h, « Trio Hegoak » le 8 juin à 21h.« Instant musical » le 7 juin à 19h30 à la Maison du Savoir de St Laurent de NesteMelting Potes : concert avec OZAM le 7 juin à 19hCinéma :Atelier-cinéma UTL le 6 juin à 15h au Palais à LourdesExpositions : (détails dans podcast)Nouvelles : Médiathèque Andrest, Médiathèque Simone Veil Bagnères de Bigorre, OT Loudenvielle, Laboratoire Omnibus, Galerie E, Maison de la Déportation et de la Résistance, Salon Chou, Médiathèque Vic en Bigorre et toujours en coursHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Iain Sinclair is one of Australia's finest, award winning theatre directors specialising in new writing and contemporary international work. Iain established the critically acclaimed theatre company Elbow Theatre in Canberra, where he received four Critics Circle Awards. He received a Sydney Theatre Award for his production of The Seed by Kate Mulvaney and is also an AWGIE Award nominated director. He has directed a number of highly praised main stage productions in Sydney including Our Town  by Thornton Wilder for The Sydney Theatre Company, which was described as “a triumph”. His production of Arthur Miller's, All my Sons was described as “A rock solid production of a play that makes you shake your head in wonderment”.  Iain has also directed for The Melbourne Theatre Company, The Ensemble, The Queensland Theatre Company, Belvoir and Sport for Jove with celebrated productions of Who's Afraid of Virginia Woolf? By Edward Albee, The Caretaker by Harold Pinter, A View From The Bridge by Arthur Miller, Mojo by Jez Butterworth, Blood Wedding by Federico Garcia Lorca (translation by Sinclair), The Beast by Eddie Perfect, A Midsummer Night's Dream by William Shakespeare and Berlin by Joanna Murray Smith. Iain graduated with distinction from the RADA Masters Program and Kings College, London. He is the associate artist and resident dramaturge for Playwriting Australia and has been assistant director to Cate Blanchett and Max Stafford Clark. Iain was invited by Max Stafford Clark to tour the UK as a member of his company “Out of Joint” teaching principles of new play making and Max Stafford Clark's legendary process based on actioning. Iain continues his work as a dramaturge and has worked with the following companies; ASK Los Angeles, New Dramatists New York, The Traverse Scotland, The Royal Shakespeare Company, The Royal Court and The National Theatre England.Iain Sinclair is presently the Head of Acting at 16th Street Actors Studio in Melbourne, where he nurtures a new generation of actors and continues to practice and refine his magnificent craft.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Playwright Oliver Mayer joined us before the premiere of his new play Ghost Waltz. Oliver shares his experience writing operas, the medium's influence on his playwriting and the musicality of English as well as the intimacy of theatre and creative control, the after affects of "crashing into the wall. We also explore writing rituals, interruptions, reframing your story, breaking bad habits and the dangers of wit, where to start a scene and "when the mask falls," and wrap things up with dialogue and stage directions, the rules of twos and threes, the use of music, translating works, and saving (L.A.) theatre and nontraditional venues. It was certainly another page in the lesson books for me. I hope you walk away with something insightful. Enjoy.Oliver Mayer is a playwright, poet, essayist and librettist, whose newest opera 3 Paderewskis, composed by Jenni Brandon, received its world premiere at Washington D.C.'s Kennedy Center in 2019. He is the author of more than 30 plays, from his ground-breaking Blade to the Heat to its long-awaited sequel - Members Only; he is currently at work on Ultimate Mix Tape, the third play in the Blade trilogy. Other produced plays include Blood Match and Yerma in the Desert (inspired by the plays of Federico Garcia Lorca), Fortune is a Woman, The Wallowa Project, Dias y Flores, Dark Matters, Young Valiant, Joy of the Desolate, The Sinner from Toledo, Laws of Sympathy and Ragged Time. He is developing new plays with The Wallis Annenberg Center for the Performing Arts and the Getty Villa. He is a tenured professor and Associate Dean of Faculty at USC's School of Dramatic Arts. The world premiere of his play Ghost Waltz opens at the Los Angeles Theater Center on May 4th and runs through June 6th. For tickets to Ghost Waltz, visit -https://www.latinotheaterco.org/ghostwaltzTo view the video format of this episode, visit -https://youtu.be/hDj406wgr6gLinks mentioned in this episode -Latino Theater Company -https://www.latinotheaterco.orgLive at the Met -https://www.metopera.org/season/radio/saturday-matinee-broadcasts/Website and Socials for Oliver Mayer -Website -www.olivermayer.comUSC - School of Dramatic Arts -https://dramaticarts.usc.edu/faculty-qa-oliver-mayer/Websites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show

Hey kids, you wanna get mad about the shitty injustices of the world?  You wanna hear the story of a brilliant poet whose life had to end because of how he was born?  Wanna hear our perfect pronunciations of Spanish words?  Then join us this episode as we delve into the short, sporadic life of one of Spain's most famous poets, Federico Garcia Lorca!

Bei Granada im Süden Spaniens denkt man vor allem an die Alhambra, eine von den Mauren erbaute Stadtburg. Die Alhambra thront auf einem Hügel oberhalb von Granada. Sie ist seit 1984 Weltkulturerbe und eine der meistbesuchten Touristenattraktionen der Welt. Granada war aber auch die Heimat von Federico García Lorca, dem großen spanischen Dichter und Dramatiker. In seinen Gedichten und Dramen hat er der Stadt ein Denkmal gesetzt. Und darüber hinaus dem von Traditionen und einem erdrückenden Katholizismus geprägten Leben im Andalusien zu Beginn des 20. Jahrhunderts. Viele Gedichte Lorcas wurden vertont. Als Cante Jondos, gesungene Flamencos. Tom Noga über eine Stadt, einen Literaten und einen typisch andalusischen Musikstil, den die Welt fälschlicherweise mit ganz Spanien verbindet.

Episode 073: The House of Bernarda Alba by Federico Garcia Lorca Host: Douglas Schatz Guest: Maria Delgado Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. Federico Garcia Lorca's unsparing drama The House of Bernarda Alba is not only a tragic family drama, but its portrait of oppression and social conformity also reflects the dangerous political landscape in which it was written. Lorca finished the play in June 1936, two months before he was murdered during the first days of the Spanish Civil War. As we record this episode a new adaptation of the play is on stage at the National Theatre in London. I'm delighted to have the opportunity to explore this inescapably powerful play, and its author, with an expert on both, Professor Maria Delgado.

Riccardo Ferrazzi"Modus in rebus"Morellini Editorewww.morellinieditore.it«Tutti i maschi hanno una grande, ingenua voglia di dominare la paura, uccidere la morte e vivere per sempre. Ma lo capiscono soltanto quando si perdono nei miei occhi.» Salamanca: città universitaria, barocca e romana, dove ogni casa è un monumento e ogni strada sa di mistero. Mentre la Spagna sta uscendo dalla dittatura franchista, l'assassinio di un prete fa perdere a Vittorio Fabbri gli amici, un affare e l'amore di Maite. Chi ha ucciso don Agustin? Amici e conoscenti si comportano in modo strano. Tutti potrebbero essere colpevoli, perfino Maite.A vent'anni di distanza, Maite è diventata un'ossessione, tanto che Vittorio torna a Salamanca per cercarla. Dovrà rientrare senza certezze a Milano, dove ben presto sarà coinvolto in altre due morti sospette e in un mistero letterario. Ancora una volta si innamora di una donna che gli procura guai e gli instilla dubbi su presente e passato. È un caso che questa donna gli ricordi terribilmente Maite? Riccardo Ferrazzi, vive a Milano. Ha pubblicato tre romanzi: Cipango! (Leone Editore, 2013), con cui ha vinto il Premio Fiorino d'argento 2015; N.B. Un teppista di successo (Arkadia, 2018); Il Caravaggio scomparso. Intrigo a Busto Arsizio (Golem Edizioni, 2021). Ha pubblicato anche un libro a quattro mani con Marino Magliani, Liguria, Spagna e altre scritture nomadi (Pellegrini, 2015) e due saggi: Noleggio arche, caravelle e scialuppe di salvataggio. Breve discorso sul mito (Fusta, 2016) e Premonizioni (Oligo, 2023). Ha tradotto Mark Twain, Federico Garcia Lorca, Vicente Blasco Ibañez, Haroldo Conti e altri.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

"Poetry is the great discipline for the speaking voice. When you speak poetry well, you are able to speak well on all other occasions."As part of the Irish storytelling series, this episode explores poetry through the words of Brendan Kennelly. Christine discusses poetry as a form of emotional connection and how it can be structured and spoken in a way which forges connections with audiences and ourselves. Christine also reveals her own thoughts and personal experiences with poetry throughout her life, reciting her favourite Brendan Kennelly poem for us at the end.CHRISTINE DISCUSSESThe uniqueness of storytelling in Irish poetry.The progression of Brendan Kennelly's work throughout his life.Kennelly's keen focus on how his poetry would be recited and received by his audience.An unusual connection between Brendan Kennelly, Federico Garcia Lorca, Franco and Christy Moore. How poetry influences communication in general.The importance of pace and vocal range to creating emotional connection.How to keep the listener in mind when reciting poetry. BEST MOMENTS"I used poetry to bridge the gap between inside me and the life that was happening on the outside.”“As Kennelly got older, his work got darker.”“Pace and vocal range are incredibly important in poetry, just as they are when we speak to communicate.”"Poetry is energetic, just as communication is energetic. There's an inner flame inside us, a gathering of emotional energy that is sustained until the last breath.""Listening is not passive. Involve the listener.""Mastering the vocal instrument is a journey into the heart, the mind, the spirit and soul." EPISODE RESOURCES The First Instalment of the Irish Story Telling Series: [E38: How to Use your Voice to Tell a Story ] https://omny.fm/shows/connected-communication/38-ccABOUT THE HOSTChristine teaches professionals how to communicate clearly and confidently in English using structure, stories and skilful speaking.She specialises in English pronunciation, storytelling and brain-based, cross-cultural communication, using "Culture Active: The Lewis Model." Alongside private coaching, Christine designs workshops and Communication Collectives for small groups.In the Connected Communication Club, she hosts a vault of public speaking and communication content and runs live monthly coaching calls.Christine's Neurocultural Communication™ concept focuses on the Spiral of Awareness: Self, Brain, Language and Culture. Her approach will make you laugh and think, while nurturing natural confidence and communication courage.Communication Club: www.connectedcommunication.club Website: www.languagecouragecoaching.com Instagram: www.instagram.com/connected_communication  Hosted on Acast. See acast.com/privacy for more information.

Marcel Dzama has an immediately recognizable style as a visual artist, but his energy has far exceeded the realm of visual art. Born in Winnipeg, Canada in 1974, Dzama got his start with the Royal Art Lodge, a group of students at the University of Manitoba who banded together in the mid-1990s. Their collaborative working method, where one artist would start a work and others finish it, recalled the "Exquisite Corpse," a parlor game associated with the Surrealists. As Dzama developed his own independent practice, moving to New York in 2004, he continued to explore the surreal in watercolor and ink. His work is replete with dancers and masked figures, whimsical animals, groovy monsters, human-plant hybrids, and grinning moons, all in an intricate but deliberately naive style. Dzama has permuted these offbeat interests into a variety of other media as well, from zines to dioramas to films. He's done album art for They Might Be Giants and Beck, made films starring Kim Gordon and Amy Sedaris, and created costumes for both a Bob Dylan music video and the New York City Ballet. Now, he's expanding his list of collaborations even further. New York's performance art biennial, PERFORMA, is returning, with a roster of artists commissioned to do new work in experimental performance of various types. Marcel Dzama's piece, titled To live on the Moon (For Lorca), is among the highlights promised by the 2023 program. In it, the artist fuses multiple threads of his practice, blending costume, dance, drawing, and film. And he also returns to his surrealist inspirations. Specifically, this work is Dzama's tribute to the life and work of Spanish Surrealist poet Federico Garcia Lorca. It incorporates both Lorca's tragic life story and an obscure, unproduced, Surrealist screenplay called A Trip to the Moon, which Lorca wrote while he was living in New York in 1929. It's fascinating material to dig into on many levels. Ahead of the opening of his show at the Abrons Art Center, Dzama came into the Art Angle studio to talk with critic Ben Davis about his work and interests, the impact of Federico Garcia Lorca, and about what surrealism does and doesn't mean today. "Marcel Dzama: To live on the Moon (For Lorca)" is on view at the Abrons Art Center from November 11–14, 2023. 

Todas as crianças são nossas; Poemas de Vinicius de Moraes; Federico Garcia Lorca; Maiacovski; Audre Lorde; Stephanie Borges --- Send in a voice message: https://podcasters.spotify.com/pod/show/peixe-voador/message

heute u.a. Influencer: Einflussreich auch als Filmkritiker?; Kommentar: Recht und Gerechtigkeit im Fall Rammstein; Tiemanns Wortgeflecht: "Dick aufgetragenes Tamtam"; Ilija Trojanows neuer Roman "1001 Morgen"; Ilija Trojanows neuer Roman "1001 Morgen"; Gedicht: "Tanz" von Federico Garcia Lorca; Hörtipp: Alice Coopers neues Album "Roads". Moderation: Stefanie Junker. Von Stefanie Junker.

Hello Creatives, Happy Pride month! Today we are continuing our Pride Poetry theme with the Spanish poet, Federico Garcia Lorca. Need more? Access premium episodes in your Spotify feed with Supercast membership             https://sleeplesscreatives.supercast.com/ Follow us on Instagram, Twitter and Facebook www.instagram.com/sleeplesscreativespodcast www.twitter.com/createsleepless www.facebook.com/sleeplesscreatives You can also listen, learn about the show and fill out our listener's survey on our official website Bedtime Podcast | Sleepless Creatives (florencestleger.wixsite.com) Sleep Tight,  Florence x The music in this episode is Stars,Trees by Outside The Sky. Sleepless Creatives is produced, hosted and edited by Florence St Leger. Opening theme is Reflection by Birds of Norway.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Bookwaves David Sedaris, whose latest collection of essays is titled “Happy Go Lucky,” and is just out in trade paperback, is interviewed by Richard Wolinsky. Recorded June 9, 2022 at Book Passage Bookstore in Corte Madera, California. David Sedaris is author of thirteen books, including Me Talk Pretty One Day, A Carnival of Snackery, The Best of Me, Calypso, Let's Explore Diabetes with Owls and others. He has been a commentator on NPR and CBS. In this wide-ranging interview he discusses life during the pandemic, his views on talking with Trump supporters, his relationship with his siblings, including his sister Amy Sedaris and her appearance on The Mandalorian, how he molds his essays, and other topics. Photos by Richard Wolinsky. Complete 65-minute Radio Wolinsky podcast.   Review of “The Wizard of Oz” at ACT's Toni Rembe (Geary) Theatre through June 25, 2023.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others Wednesday or Thursday through Sunday. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  Lists of guests at the upcoming Book Festival, May 6-7, 2023, event calendar and links to previous events. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.   Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. See website for upcoming productions. American Conservatory Theatre  The Wizard of Oz  adapted by John Kane for the Royal Shakespeare Theatre, based on the classic motion picture, June 1 – June 25. Aurora Theatre  Hurricane Diane by Madeleine George, June 16 – July 16. Streaming July 12 -16. Awesome Theatre Company. Check website for upcoming live shows and streaming. Berkeley Rep Let The Right One In, a stage adaptation by Jack Thorne. Through June 25, 2023 at the Roda Theatre. Out of Character, written and performed by Arfel Stachel, June 23 – July 30, Peets Theatre. Boxcar Theatre. See website for calendar listings. Brava Theatre Center: See website for events. BroadwaySF: Into the Woods, June 20-25, Curran. Les Miserables, July 6 – 23, Orpheum. Tina: The Tina Turner Musical, August 1-27, 2023, Golden Gate. Broadway San Jose: Beetlejuice, August 1 – 6. California Shakespeare Theatre (Cal Shakes). No 2023 season scheduled. See website for events calendar. Center Rep: In The Heights, May 27  – June 24. Central Works The Dignity Circle a new scheme by Lauren Smerkanich June 24 – July 23. Cinnabar Theatre. Tosca, June 9 – 25. Contra Costa Civic Theatre 2023-2024 season: Sondheim on Sondheim; Tintypes. Curran Theater: Into The Woods, direct from Broadway, June 20-25, 2023. Custom Made Theatre. Tiny Fires by Aimee Suzara, postponed to a later date in 2023. Cutting Ball Theatre. See website for upcoming season. 42nd Street Moon. She Loves Me, June 8 – June 24, Gateway Theatre. Golden Thread  See website for ongoing special events. Landmark Musical Theater.  My Unauthorized Hallmark Movie Musical, June 17, 4 pm, at the Landmark, 533 Sutter, SF. Lorraine Hansberry Theatre. In The Evening By The Moonlight by Traci Tolmaire, co-created and directed by Margo Hall, June 15 – July 2, Young Performers Theatre, Fort Mason, San Francisco. Magic Theatre. Josephine's Feast, August 2 – 20. See website for other events at the Magic. Marin Theatre Company Odyssey written and directed by Lisa Peterson, August 31 – September 24. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC)  Drag Queen Storytime Gone Wild starring the Kinsey Sicks, July 5 -16. Oakland Theater Project.  Who's Afraid of Virginia Woolf? by Edward Albee, May 26 – June 18. Pear Theater. Falsettos,  June 30 – July 23. PianoFight. Permanently closed as of March 18, 2023. Presidio Theatre. See website for upcoming productions Ray of Light:  Cruel Intentions: The '90s Musical, September 8 – October 1, Victoria Theatre. The Rocky Horror Show, Oasis Nightclub, October 6  – 31. See website for Spotlight Cabaret Series at Feinstein's at the Nikko. San Francisco Playhouse.  A Chorus Line starts June 22, 2023. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: 40th Anniversary Celebration, June 26, 2023. Shotgun Players. Yerma based on the play by Federico Garcia Lorca. Through June 18. South Bay Musical Theatre: Rent, September 30 – October 21. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand, New performances most Wednesdays. TheatreWorks Silicon Valley. Steel Magnolias by Robert Harling, June 7 – July 2, 2023, Mountain View Center for the Performing Arts. Word for Word.  See schedule for  one-night readings and streaming performances. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org                   The post Bookwaves/Artwaves – June 15, 2023: David Sedaris appeared first on KPFA.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Bookwaves Robert Anton Wilson (1932-2007), interviewed by Richard Wolinsky in February 1983, recorded in a car in the Santa Cruz mountains during a rainstorm. Digitized, remastered and edited in May, 2023. Robert Anton Wilson had a remarkable career. Starting as a writer of comic science fiction based on historical stories of conspiracy, his work soon turned in the direction of physics, psychology, and futurism, and described himself as an agnostic mystic. In the religion or philosophy known as discordianism, he is considered both pope and saint. A journalist in his early career, he co-edited the Playboy Magazine forum, and covered the work of both Timothy Leary and Richard Alpert, later known as Ram Dass. Most of his best known works were written in the 1970s and 1980s, though he continued to write non-fiction into the 21st century. These include The Illuminati Trilogy, co-written with Robert Shea, The Schrodinger's Cat and Cosmic Trigger trilogies, and Prometheus Rising. His early works were published by large commercial presses; his later by small presses. Most, of not all, of his books still remain in print. The three books mentioned toward the end of the interview were all published and are all available. Complete 32-minute interview.   Bookwaves Fay Weldon (1931-2023) who died on January 4th, 2023 at the age of 91, published 31 novels during her lifetime, including The Life and Loves of a She-Devil, one of four novels which later became films. She was also a playwright, short story writer, television writer and non-fiction author. Richard A. Lupoff and Richard Wolinsky interviewed her twice in the KPFA studios. This second interview was recorded on January 21, 1992 while she was on tour for two novels, Darcy's Utopia and Life Force Fay Weldon's career continued for the next thirty years after the interview with several novels, including a sequel to She-Devil, more plays, more short stories and several works of non-fiction. This interview was digitized, remastered, and edited in June, 2023 by Richard Wolinsky. First time on the air in over thirty years. Complete 34-minute Interview. First Fay Weldon interview, recorded March 1990 while she was on tour for The Cloning of Joanna May.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others Wednesday or Thursday through Sunday. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  Lists of guests at the upcoming Book Festival, May 6-7, 2023, event calendar and links to previous events. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.   Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. See website for upcoming productions. American Conservatory Theatre  The Wizard of Oz  adapted by John Kane for the Royal Shakespeare Theatre, based on the classic motion picture, June 1 – June 25. Aurora Theatre  Hurricane Diane by Madeleine George, June 16 – July 16. Streaming July 12 -16. Awesome Theatre Company. Check website for upcoming live shows and streaming. Berkeley Rep Let The Right One In, a stage adaptation by Jack Thorne. Through June 25, 2023 at the Roda Theatre. Boxcar Theatre. See website for calendar listings. Brava Theatre Center: See website for events. BroadwaySF: The Book of Mormon, May 23 – June 13, Orpheum. Into the Woods, June 20–15, Curran. Les Miserables, July 6 – 23, Orpheum. Tina: The Tina Turner Musical, August 1-27, 2023, Golden Gate. Broadway San Jose: Beetlejuice, August 1 – 6. California Shakespeare Theatre (Cal Shakes). No 2023 season scheduled. See website for events calendar. Center Rep: In The Heights, May 27  – June 24. Central Works The Dignity Circle a new scheme by Lauren Smerkanich June 24 – July 23. Cinnabar Theatre. Tosca, June 9 – 25. Contra Costa Civic Theatre 2023-2024 season: Sondheim on Sondheim; Tintypes. Curran Theater: Into The Woods, direct from Broadway, June 20-25, 2023. Custom Made Theatre. Tiny Fires by Aimee Suzara, postponed to a later date in 2023. Cutting Ball Theatre. 2023/24 season announcement, June 11, 4 pm. 42nd Street Moon. She Loves Me, June 8 – June 24, Gateway Theatre. Golden Thread  See website for ongoing special events. Landmark Musical Theater.  My Unauthorized Hallmark Movie Musical, June 17, 4 pm, at the Landmark, 533 Sutter, SF. Lorraine Hansberry Theatre. In The Evening By The Moonlight by Traci Tolmaire, co-created and directed by Margo Hall, June 15 – July 2, Young Performers Theatre, Fort Mason, San Francisco. Magic Theatre. Josephine's Feast, August 2 – 20. See website for other events at the Magic. Marin Theatre Company Odyssey written and directed by Lisa Peterson, August 31 – September 24. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC)  The Confession of Lily Dare by Charles Busch, May 12 – June 11. Drag Queen Storytime Gone Wild starring the Kinsey Sicks, July 5 -16/ Oakland Theater Project.  Who's Afraid of Virginia Woolf? by Edward Albee, May 26 – June 18. Pear Theater. Falsettos,  June 30 – July 23. PianoFight. Permanently closed as of March 18, 2023. Presidio Theatre. See website for upcoming productions Ray of Light: Spring Awakening, June 8-10, Victoria Theatre. Cruel Intentions: The '90s Musical, September 8 – October 1, Victoria Theatre. The Rocky Horror Show, Oasis Nightclub, October 6  – 31. See website for Spotlight Cabaret Series at Feinstein's at the Nikko. San Francisco Playhouse.  Chinglish by David Henry Hwang, May 4 – June 10, 2023. A Chorus Line starts June 22, 2023. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: 40th Anniversary Celebration, June 26, 2023. Shotgun Players. Yerma based on the play by Federico Garcia Lorca. Through June 18. South Bay Musical Theatre: Rent, September 30 – October 21. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  Gumiho, staged reading June 13. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand, New performances most Wednesdays. TheatreWorks Silicon Valley. Steel Magnolias by Robert Harling, June 7 – July 2, 2023, Mountain View Center for the Performing Arts. Word for Word.  See schedule for  one-night readings and streaming performances. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org                   The post Bookwaves/Artwaves – June 8, 2023: Robert Anton Wilson – Fay Weldon appeared first on KPFA.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Bookwaves Martin Amis in 2007. Martin Amis (1949-2023), in conversation with host Richard Wolinsky for the “Probabilities” program, recorded in the KPFA studios November 26, 1991 while on tour for the paperback edition of “London Fields.” First of five interviews conducted over a 23 year span. Martin Amis, who died of esophageal cancer on May 19th, 2023 at the age of 73, was a leading English novelist, essayist, memoirist and screenwriter. Known for such novels as London Fields, Money, Time's Arrow, The Information and The Zone of Interest, his memoir Experience won the Booker Prize, and his essay collection The War Against Cliché is now considered a classic. The son of novelist and essayist Kingsley Amis, Martin Amis was close friends with Christopher Hitchens, Saul Bellow and Philip Larkin, all of whom he wrote about in his final novel, which was actually a memoir, Inside Story, in 2020. This is the first of five interviews recorded with Martin Amis. and has not been heard in over a quarter century and was digitized, remastered and edited in May, 2023. Front photo by Richard Wolinsky in the KPFA studios in 2014. Page photo: Creative Commons.   Artwaves Susi Damilano and Bill English, co-founders of San Francisco Playhouse. Bill English, Artistic Director of San Francisco Playhouse, in conversation with Richard Wolinsky, recorded via Zencastr May 29, 2023. San Francisco Playhouse was founded in 2003 by Bill English and Susi Damilano and has grown into a major regional theatre, with several world premieres later moving on to future productions in New York and elsewhere. In this interview, Bill English discusses the current show at San Francisco Playhouse, Chinglish by David Henry Hwang, which runs through June 10, 2023, and the upcoming production of A Chorus Line, which starts previews on June 22, 2023. He also talks about the upcoming 2023-2024 season, as well as the state of the company three years after the pandemic shutdown.   Review of “Let The Right One In' at Berkeley Rep's Roda Theatre through June 25, 2023.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others Wednesday or Thursday through Sunday. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  Lists of guests at the upcoming Book Festival, May 6-7, 2023, event calendar and links to previous events. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.   Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. See website for upcoming productions. American Conservatory Theatre  The Wizard of Oz  adapted by John Kane for the Royal Shakespeare Theatre, based on the classic motion picture, June 1 – June 25. Aurora Theatre  Hurricane Diane by Madeleine George, June 16 – July 16. Streaming July 12 -16. Awesome Theatre Company. Check website for upcoming live shows and streaming. Berkeley Rep Let The Right One In, a stage adaptation by Jack Thorne. Through June 25, 2023 at the Roda Theatre. Boxcar Theatre. See website for calendar listings. Brava Theatre Center: See website for events. BroadwaySF: The Book of Mormon, May 23 – June 13, Orpheum. Into the Woods, June 20–15, Curran. Les Miserables, July 6 – 23, Orpheum. Tina: The Tina Turner Musical, August 1-27, 2023, Golden Gate. Broadway San Jose: Beetlejuice, August 1 – 6. California Shakespeare Theatre (Cal Shakes). No 2023 season scheduled. See website for events calendar. Center Rep: In The Heights, May 27  – June 24. Central Works The Dignity Circle a new scheme by Lauren Smerkanich June 24 – July 23. Cinnabar Theatre. Tosca, June 9 – 25. Contra Costa Civic Theatre 2023-2024 season: Sondheim on Sondheim; Tintypes. Curran Theater: Into The Woods, direct from Broadway, June 20-25, 2023. Custom Made Theatre. Tiny Fires by Aimee Suzara, postponed to a later date in 2023. Cutting Ball Theatre. Towards Opulence, The Opera. June 3-4. 42nd Street Moon. She Loves Me, June 8 – June 24, Gateway Theatre. Golden Thread  See website for ongoing special events. Landmark Musical Theater.  Hair, May 6 – June 4, at the Landmark, 533 Sutter, SF. Lorraine Hansberry Theatre. In The Evening By The Moonlight by Traci Tolmaire, co-created and directed by Margo Hall, June 15 – July 2, Young Performers Theatre, Fort Mason, San Francisco. Magic Theatre. Josephine's Feast, August 2 – 20. See website for other events at the Magic. Marin Theatre Company Odyssey written and directed by Lisa Peterson, August 31 – September 24. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC)  The Confession of Lily Dare by Charles Busch, May 12 – June 11. Oakland Theater Project.  Who's Afraid of Virginia Woolf? by Edward Albee, May 26 – June 18. Pear Theater. Falsettos,  June 30 – July 23. PianoFight. Permanently closed as of March 18, 2023. Presidio Theatre. See website for upcoming productions Ray of Light: Spring Awakening In Concert, June 8-10, Victoria Theatre. Cruel Intentions: The '90s Musical, September 8 – October 1, Victoria Theatre. The Rocky Horror Show, Oasis Nightclub, October 6  – 31. See website for Spotlight Cabaret Series at Feinstein's at the Nikko. San Francisco Playhouse.  Chinglish by David Henry Hwang, May 4 – June 10, 2023. A Chorus Line starts June 22, 2023. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: 40th Anniversary Celebration, June 26, 2023. Shotgun Players. Yerma based on the play by Federico Garcia Lorca. Through June 18. South Bay Musical Theatre: Singin' In the Rain, May 13 – June 3. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  Gumiho, staged reading June 13. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand, New performances most Wednesdays. TheatreWorks Silicon Valley. Steel Magnolias by Robert Harling, June 7 – July 2, 2023, Mountain View Center for the Performing Arts. Word for Word.  See schedule for  one-night readings and streaming performances. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season, starting February. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org                 The post Bookwaves/Artwaves – June 1, 2023: Martin Amis – Bill English appeared first on KPFA.

Bibliyoterapi'nin bu bölümünde Aslı, Tuna'nın yokluğunda mikrofonun başına tek başına geçiyor ve yaz gelince hiçbir şey yapasım gelmiyor diyen insanların derdine şifa arıyor. Keyifli dinlemeler!Aslı ve Tuna'ya bibliyoterapi@podbeemedia.com mail adresinden yazabilirsiniz.Dan Brown - Da Vinci'nin ŞifresiElizabeth Gilbert - Ye, Dua Et, SevFederico Garcia Lorca - Ah, Rüzgarda Giden AşkBonus:Elif Şafak - AşkCoyote Ugly (Film)------- Podbee Sunar ------- Bu podcast, GetirAraç hakkında reklam içerir. GetirAraç'ı indirmek ve ilk kullanımda 500 TL indirimden faydalanmak için, tıklayın. Bu podcast, Hiwell hakkında reklam içerir. Hiwell'i indirmek ve "pod10" koduyla %10 indirimden faydalanmak için tıklayın. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Översättning: Marika Gedin Uppläsare: Kerstin Andersson Första rad: Jag har många gånger hamnat vilse på havet DIKTSAMLING: Divan från Tamarit (Lind & co, 2013)MUSIK: Einojuhani Rautavaara: Sydämeni lauluEXEKUTÖR: Tanja Tetzlaff, cello och Gunnilla Süssmann, piano

durée : 00:17:59 - Les Nuits de France Culture - par : Albane Penaranda - Les chansons de Federico Garcia Lorca

Welcome back to the 120th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 120th episode we bring you a duet review of Coal Mine Theatre's production of Yerma, adapted by Simon Stone (after Federico Garcia Lorca), starring Sarah Gadon in the lead role. Join Jillian Robinson and Ryan Borochovitz, as they discuss the vibrant venue, the power of proximity, and the whims and woes of womanhood. Yerma is playing at the new Coal Mine Theatre (2076 Danforth Ave, Toronto, ON) until March 5th, 2023. Tickets can be purchased from the following link: https://www.coalminetheatre.com/yerma Less importantly, this review contains many SPOILERS for Yerma. It will begin with a general non-spoiler review until the 10:00:00 mark, followed by a more in-depth/anything goes/spoiler-rich discussion. If you intend to see the production, we recommend you stop watching after that point, or at least proceed at your own risk. Follow our panelists: Jillian Robinson – Instagram: @jillian.robinson96 // See her in the Women at Play(s) Festival: https://www.ticketscene.ca/events/43374/ (final week!) Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

Welcome back to the 119th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 119th episode we bring you a classic cup review of the Young Vic's 2016 production of Yerma, adapted and directed by Simon Stone (after Federico Garcia Lorca), starring Billie Piper in the lead – though not necessarily titular! – role. Watch the play on NTatHome (subscription needed): https://www.ntathome.com/yerma Stay tuned next week, for our review of the more local production of Yerma, currently playing in Toronto by Coal Mine Theatre until March 5th, 2023! Tickets for that production can be found at the following link: https://www.coalminetheatre.com/yerma CONTENT WARNING: Yerma deals with themes of reproductive autonomy, abortion, substance abuse, self-harm, and suicide; this review, likewise, speaks directly to these topics. Listener discretion is strongly advised. Follow our panelists: Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] Carly Billings – Instagram: @mscarlybillings & @afterlifetheatreco Alicia Plummer – Instagram: @itsaliciaplummer // TikTok: hialiciabyealicia Jimmy Zhao – Email: jimmy.zhao.writing@gmail.com // TikTok: jjyzhao // YouTube: I Will Say This Tho Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

Federico Garcia Lorca war in den 1930er Jahren der berühmteste spanischsprachige Autor Europas, ein Linker, der Francos Faschisten unbedingt verhindern wollte. 1936 wird er ermordet, sein Leichnam verscharrt. Francis Poulencs widmet ihm seine Geigensonate, deren Uraufführung ein Akt von résistance war. Tianwa Yang und Nicholas Rimmer nehmen sich Poulencs Violinsonate vor.

Synopsis As the season begins, we offer you this “Autumn Music” — a woodwind quintet by American composer Jennifer Higdon. Higdon says she wanted to write a companion piece to another famous woodwind quintet titled “Summer Music” by Samuel Barber. Higdon's “Autumn Music” was commissioned by Pi Kappa Lambda, the national music honorary society, and premiered at their 1994 national convention in Pittsburgh. “Autumn Music,” says Higdon, “is a sonic picture of the season of brilliant colors. The music of the first part represents the explosion of leaves and the crispness of the air of fall. As the music progresses, it becomes more spare and introspective, moving into a more melancholy and resigned feeling.” Jennifer Higdon was born in Brooklyn in 1962, and teaches at the Curtis Institute of Music in Philadelphia. Her chamber and orchestral pieces have been performed by ensembles coast to coast. She's also active as a performer and, as she explains, as an enthusiastic member of the audience: “I love exploring new works — my own pieces and the music of others — in a general audience setting, just to feel a communal reaction to new sounds. Music speaks to all age levels and all kinds of experiences in our lives. I think it can express anything and everything.” Music Played in Today's Program Jennifer Higdon (b. 1962): Autumn Music –Moran Woodwind Quintet (Crystal 754) On This Day Births 1875 - Lithuanian composer Mikolajus Ciurlionis, in Varena (then the Kaunas province of the Russian Empire; Julian date: Sept. 10); 1933 - Spanish composer Leonardo Balada, in Barcelona; 1961 - American composer Michael Torke, in Milwaukee, Wisc.; Deaths 1989 - American song composer Irving Berlin, age 101, in New York City; Premieres 1869 - Wagner: opera, "Das Rheingold," in Munich at the Hoftheater, Franz Wüllner conducting; The opera was performed at the Bavarian emperor Ludwig II's request, but against the composer's wishes; 1938 - Webern: String Quartet, Op. 28, at South Mountain, Pittsfield, Mass., during the Berkshire Chamber Music Festival; This work was commissioned for $750 by the American music patron, Elizabeth Sprague Coolidge; 1964 - Jerry Bock: musical "Fiddler On the Roof" opens on Broadway: It would run for 3,242 performances before closing; 1971 - Barber: "The Lovers" for solo voice and chorus (after a poem by Pablo Neruda), in Philadelphia; 1989 - Bernstein: "Arias and Barcarolles" (orchestrated version prepared by Bright Sheng), at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; The first version of this work, for soloists and piano four-hands, premiered on May 9, 1988, at Equitable Center Auditorium in New York City; 1990 - James MacMillan: "The Beserking" (Piano Concerto), at Henry Wood Hall in Glasgow by pianist Peter Donohoue and the Royal Scottish Orchestra, Matthias Bamert conducting; 1990 - Christopher Rouse: "Jagannath" for orchestra, by the Houston Symphony Orchestra, Christoph Eschenbach conducting; 2000 - Philip Glass: “Tirol Concerto” for piano and orchestra, by Dennis Russell Davies (piano and conductor) with the Stuttgart Chamber Orchestra, at the 7th annual Klangspuren Festival in Schwaz, Tirol (Austria); 2000 - Zwilich: "Millennium Fantasy" for piano and orchestra, by the Cincinnati Symphony, Jesús Lopez-Cobos conducting with soloist Jeffrey Biegel; Others 1937 - During the Spanish Civil War, Mexican composer Silvestre Revueltas conducts his 1935 composition “Homage to Federico Garcia Lorca” in Madrid while the city was under siege by Spanish fascist forces; The Spanish poet Lorca had been killed by the Falangists; Links and Resources On Jennifer Higdon On Barber's "Summer Music"

Read by Terry CasburnProduction and Sound Design by Kevin Seaman

durée : 03:01:30 - Les Nuits de France Culture - Par Claude Mourthé et Arturo Belzunce - Avec El Cordobes, Paco Camino, Auguste Lafront (alias Paco Tolosa), Manuel Chopera, Alfonso Navalon, Claude Popelin, le docteur Colodron, Miguel Guerra de Cea, Jean Lacouture, Jean-Marie Magnan et Alain Pierson - Textes de Dominique Lapierre et Larry Collins, Federico Garcia Lorca, Ernest Hemingway, Henry de Montherlant, DH Lawrence, Jean Cocteau, Auguste Lafront, Michel Leiris, Alfonso Sastre, lus par Didier Conti, Marcel Lupovici, Michel Le Royer, William Sabatier, Jacqueline Danno, Robert Party et Luc Ponette - Réalisation Claude Mourthé

Film director/screenwriter Justin Trefgarne talks about Dylan, but also about fathers, sons, archetypes and coincidence. “Bob has been the guardian angel and surrogate father for my entire adult existence,” he tells us. From his first encounter with Like A Rolling Stone (which he played for five hours straight), “everything was up for grabs”. Hear how young Justin paid off a bouncer in Seattle to get seats to his first Dylan concert. How he won a Dylan soundalike contest in Las Vegas. And that time he and Bob had a close encounter in the doorway of the Grateful Dead Tattoo Parlour on Venice Beach.For the first time on this podcast, we tackle Robert Bly (author of Iron John), Joseph Campbell (author of The Hero's Journey) and Federico Garcia Lorca's concept of duende. Oh and - Justin's pilot father flew three of the Beatles to see Dylan perform at the Isle of Wight Festival (probably).Justin's debut feature film as writer-director was the 2015 sci-fi thriller NARCOPOLIS, starring Jonathan Pryce (with a cameo from Kerry Shale). The film spawned a successful graphic novel spin-off. He was head writer on the Nickelodeon reboot of children's classic PETER RABBIT, for which he was nominated for an Emmy. Justin devised and wrote all ten episodes of the YouTube Original series SHERWOOD, which has had over 70m views. Other writer/director credits include DESIRE, starring Damian Lewis, which opened the Sundance Film Festival. He has also written screenplays for Film4, The BFI and Ruby Films. Justin recently wrote and directed on THE RAZUMOV FILES, a six-part audio-series starring Jessica Brown Findlay.IMdBTwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 16th June 2022This show is part of Pantheon Podcasts  

Film director/screenwriter Justin Trefgarne talks about Dylan, but also about fathers, sons, archetypes and coincidence. “Bob has been the guardian angel and surrogate father for my entire adult existence,” he tells us. From his first encounter with Like A Rolling Stone (which he played for five hours straight), “everything was up for grabs”. Hear how young Justin paid off a bouncer in Seattle to get seats to his first Dylan concert. How he won a Dylan soundalike contest in Las Vegas. And that time he and Bob had a close encounter in the doorway of the Grateful Dead Tattoo Parlour on Venice Beach.For the first time on this podcast, we tackle Robert Bly (author of Iron John), Joseph Campbell (author of The Hero's Journey) and Federico Garcia Lorca's concept of duende. Oh and - Justin's pilot father flew three of the Beatles to see Dylan perform at the Isle of Wight Festival (probably).Justin's debut feature film as writer-director was the 2015 sci-fi thriller NARCOPOLIS, starring Jonathan Pryce (with a cameo from Kerry Shale). The film spawned a successful graphic novel spin-off. He was head writer on the Nickelodeon reboot of children's classic PETER RABBIT, for which he was nominated for an Emmy. Justin devised and wrote all ten episodes of the YouTube Original series SHERWOOD, which has had over 70m views. Other writer/director credits include DESIRE, starring Damian Lewis, which opened the Sundance Film Festival. He has also written screenplays for Film4, The BFI and Ruby Films. Justin recently wrote and directed on THE RAZUMOV FILES, a six-part audio-series starring Jessica Brown Findlay.IMdBTwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 16th June 2022This show is part of Pantheon Podcasts  

This was originally a Patreon-exclusive bonus episode, and fits into season 1 between episodes 27 and 28.    Tammi and Olivia talk about what's been happening in the voicemails, and Kat and Jess rehearse a play with a somewhat eccentric drama school director.     Please check out Y2K Productions new sci-fi audio drama Chaika https://y2kpod.com/chaika/ - you can subscribe now in your favourite podcatcher by searching for 'Chaika'.   Want to support Y2K, Chaika and Y2K Productions? We adore you amazing human! You can support us on Patreon from only 1 USD and get early episode releases, plus lots of other goodies such as exclusive episodes and behind-the-scenes content, please go to patreon.com/y2kpod to check it out.    Transcript below. Don't miss the bloopers after the end credits!    Cast:  OLIVIA - Kirsty Woolven (she/her) http://twitter.com/kirstywoolven TAMMI - Anna Jartin (she/her) y2kpod@gmail.com DRAMA SCHOOL DIRECTOR - Sarah Golding (she/her) https://quirkyvoices.weebly.com/  KAT - Janis Westin (she/her) y2kpod@gmail.com  JESS - Karin Heimdahl (she/her) https://twitter.com/karinheim  INTRO NARRATOR - Emma Laslett (she/they) https://twitter.com/Waruce   Written, produced and directed by Karin Heimdahl (she/her).    Intro and outro music is created and recorded by Jake Haws, check out his podcast Making Music with Jake Haws to hear more.    For more information please visit y2kpod.com. You can also find us on twitter, instagram and facebook @Y2Kpod,or e-mail us at Y2Kpod@gmail.com   Looking for merch? We have it! Check out Y2Kpod.com/merch   Blue fireworks image by Gerd Altmann from Pixabay (https://pixabay.com/users/geralt-9301).  ℗ 2019 Karin Heimdahl   ___________________________ TRANSCRIPT Tammi's Takeover - Patreon Bonus Episode 2: You think I'm typecast (INTRO MUSIC) Scene B2:1 TAMMI Hello and welcome to Tammi's Takeover – our very special show just for Patreon supporters of Y2K! I'm Tammi, and with me is of course Olivia... OLIVIA Hello everyone! TAMMI So excited to take over again! OLIVIA (laughs) I'm glad you are! I couldn't do this on top of everything else. TAMMI Happy to. So, a lot has been happening in the voicemails lately.  OLIVIA Oh yes. TAMMI How do you feel about it all? OLIVIA I feel... relieved that I am not trying to keep so many secrets anymore. (beat) And awful about Kat's miscarriage, of course. TAMMI Yes. Did you know that would happen? OLIVIA No! I mean, I knew she doesn't have a kid my age, but I knew nothing about the miscarriage. Not really the sort of thing she would talk to a child about, I suppose. And by the time I was grown up, it was so long ago.  TAMMI But that means you knew something would happen. OLIVIA I did. And I was waiting for it – dreading it. But I couldn't know when it would happen. And of course I *did* think she could have had a child and then put them up for adoption, too. TAMMI Oh... Didn't think of that. So you were surprised when Kat announced she was pregnant in the voicemails?  OLIVIA More like shocked. I was waiting for my mama – Rachel – to start talking about being pregnant, and sort of mentally preparing for telling the listeners, and then all of a sudden Kat is pregnant instead.  TAMMI I can imagine. So, you call Rachel your mama-  OLIVIA And Jess my mum, yeah. I don't know if my parents planned that or if it just happened, but it's handy for keeping them straight. TAMMI (raucous laughter) Straight? OLIVIA (joins in the laughter) Oh dear. *That* came out wrong. TAMMI (still laughing) Came out? OLIVIA (laughs again) Stop it!  TAMMI (laughter winding down) OK. Fine. Where were we?  OLIVIA (still a little giggly) I don't know. TAMMI (slight laughter left) Guess it's my job to... take over and check what we are supposed to be talking about... (paper rustling, deep breath) Right. Yes. We talked about this last episode, you found something special for us to include today, right Olivia? OLIVIA I did! In a different folder of my mum's old computer I found some recordings of Kat and Jess from drama school. They start off serious but it's a rehearsal so I think there's some silly stuff too.  TAMMI Fun! What are they rehearsing? OLIVIA A play called House of Bernarda Alba by a Spanish playwright (paper rustles) Federico Garcia Lorca. I'd never heard of it – googled and it seems to be a pretty depressing story about a group of sisters in 1930's Spain. But it's all women which is pretty cool. TAMMI Yeah – that must be unusual for the time. All right, let's listen! Scene B2:2 (click, dramatic music?) DIRECTOR (claps hands twice) Right, everyone, we're doing the scene with Amelia and Martirio, everyone else can take 30, you lucky bastards. (sound of group of actors leaving, low chatting (all female), doors closing) Right. So where are you when this scene begins? KAT Um... (script rustles) I'm at the table, doing some mending. JESS Me too. DIRECTOR All right, all right, good. Places. (sound of movement, wooden chairs, sitting down) Whenever you're ready, you can... start. KAT (as AMELIA)  (sighs) I no longer know if it's better to have a fiancé or not. JESS (as MARTIRIO)  It makes no difference. KAT (as AMELIA)  It's all the gossip that's to blame, they won't let you live. Adelaida must have had a bad time of it. JESS (as MARTIRIO)  (uncertain) They're afraid of mother. She's the only one who knows the truth about Adelaida's father and how he got his land. Whenever she comes here, mother sticks the knife in. Her father killed his first wife's husband, in Cuba, to marry- DIRECTOR Right. Thank you. All right. Um. You know. It sounds like you're reading a grocery list, Jess, and it's not a good one, y'know? ‘S... just full of oranges. Just... C'mon!  JESS (frustrated sound) All right. DIRECTOR This is one of those lines that you have to (makes grunting noise), you have to (makes grunting noise), yes, you see? You have to inject some interest into it, because it's all exposition. Right? You got that?  JESS (scribbles on script) Right.  DIRECTOR And you know it's a, it's a dramatic story, it's not a... you know, it's not a introverts festival- It's just... Look, do we have a hat anywhere? (rummages around) Do we have a hat? Do we have a hat somewhere? Yes! Here! (throws it at JESS, she catches it) Right. OK. So- Put that on. Right. Now do the scene from the top, but stand over here. Kat, your job, right, if you're willing to accept it, is to grab the hat.  KAT (smiles) OK. DIRECTOR Right. And Jess, right, you, you cannot let her grab it.  JESS (smiles) Got it. DIRECTOR Whenever you're ready. (sound of tussle and slight giggles, also scripts being waved around, throughout scene, BOTH much quicker and more energetic) KAT (as AMELIA)  I no longer know if it's better to have a fiancé or not. JESS (as MARTIRIO)  It makes no difference. KAT (as AMELIA)  It's all the gossip that's to blame, they won't let you live. Adelaida must have had a bad time of it. JESS (as MARTIRIO)  They're afraid of mother. She's the only one who knows the truth about Adelaida's father and how he got his land. Whenever she comes here, mother sticks the knife in. Her father killed his first wife's husband, in Cuba, to marry the wife. Then he abandoned her here, and went off with another woman who had a daughter, and *then* had an affair with the daughter, Adelaida's mother, and married *her* when the second wife died insane. DIRECTOR Thank you! Better. Right. Jess, Jess, Jess, Jess, come here, come here, could you feel the difference, yes? JESS Yes! DIRECTOR Yes, good. Good, good, good. Right. Now you need to keep that energy, both of you, OK, but now get into the emotions of the scenes, right. Now, can't have you sitting down. Um... (script pages rustling) Jess, you stand up, right, and you go down stage left on “It makes no difference”. OK, do that. JESS Yep. (scribbles on script) DIRECTOR OK, good. Aah, and Kat, um, can you follow her on “It's all the gossip...” so you end up here. (sounds of moving around) Like this. OK? No... That's right, good. More hip. Good, lovely. KAT OK. (scribbles on script) DIRECTOR Take it from “And why is the wretch...”, Kat. KAT Where? (script pages rustling) Oh. OK. DIRECTOR Whenever you're ready. (pause) OK, come on. Whenever you're ready. KAT (as AMELIA)  And why is that wretch not in jail? JESS (as MARTIRIO)  Because men cover up things like that among themselves, and no one's willing to speak out. KAT (as AMELIA)  But Adelaida's not to blame for all that. JESS (as MARTIRIO)  No, but stories are repeated. And to me it all seems one dreadful repetition. Her fate is the same as her mother's and her grandmother's, both wives of the man who engendered her. (stops) Wait, “engendered”? (beat) Oh, gross! Three generations of women forced into incest.  (sound of disgust from KAT) DIRECTOR Yes! Yes, exactly. Save your disgust for Martirio, OK? From, c'mon let's go from “Her fate is...” JESS Sorry. (clears throat) Her fate is the same as her mother's and her grandmother's, both wives of the man who engendered her. KAT (as AMELIA)  What a terrible thing! JESS (as MARTIRIO)  It's better never to see a man. Since childhood they make me afraid. I'd see them in the yard yoking the oxen and lifting the sacks of wheat, shouting and stamping, and I was always afraid of growing up and suddenly finding myself in their arms. God has made me weak and ugly and has kept them away from me. KAT (as AMELIA)  Don't say such things! Enrique Humanes was after you and he liked you. JESS (as MARTIRIO)  People invent things! Once I stood by the window in my nightgown till dawn, because his farmhand's daughter told me he was going to stop by, but he never came. It was all talk. Then he married another girl with more money than I. KAT (as AMELIA)  And she, as ugly as the devil! JESS (as MARTIRIO)  What does beauty matter to them? What matters are land, oxen, and a submissive bitch to fetch them their food. KAT (as AMELIA)  Ay! DIRECTOR Thank you. Thank you, thank you, thank you- Lovely. Right. Hm... (script pages rustling) JESS (laughs, to KAT) I love Amelia - “Ay”! KAT (laughs, to JESS) Yes! And Martirio – “submissive bitch”. JESS Yeah – you think I'm typecast? “Better never to see a man”? KAT (smiles) Probably. Hang on. You feeling “ugly and weak”? JESS (laughs) Well...  DIRECTOR All right, OK, from the top. Kat, I want you to really think about Amelia's objective here – OK, what does she want? Right, and Jess, a little... (fades out) (dramatic music?, click) Scene B2:3 TAMMI That was fun! OLIVIA Yes! Though seems like an awful story. TAMMI It does. Though – in that horrible line about the father killing the wives and marrying the daughters... I've been listening to this podcast called My Dad Wrote a Porno lately – have you heard it?  OLIVIA Yes – it's huge – millions of listeners. TAMMI And SO funny! OLIVIA Mm. Not quite my cup of tea, but sure. TAMMI I love it. Anyway, I kept hearing that line read as part of the confusing narrative of Belinda Blinked – “Her father killed his first wife in Cuba and married the daughter and abandoned her and then his second wives first cousin's uncle...” (BOTH laugh) OLIVIA Not *quite* as much sex in this play, though. TAMMI No. At least not in the scene we heard! OLIVIA True! TAMMI All right, better wrap this up. Anything you want to say before we go? OLIVIA Thank you, Patreon supporters, again and always. You support means so much. TAMMI Yes. Thank you! I will take over again in about three months! Bye! OLIVIA Bye! (OUTRO) (BLOOPERS) (OUTRO MUSIC) 

In part 2 of Diego's conversation with Xiomara, they talk about queer martyr Federico Garcia Lorca and the radical potential of queerness, thinking about starting a family as a single mom, and her upcoming gender-affirming surgery. Also, producer Stephen continues his debut as co-host Stephen! And now, here's Xiomara.