Podcasts about Machinal

Jacob is joined by Amy Marie Seidel, director of the New York Theatre Company's upcoming production of "Machinal" by Sophie Treadwell. Jacob and Ms. Seidel discuss the continued relevance of "Machinal," and how Treadwell uses expressionist techniques to bring the audience inside the mind of the characters. They also discuss Seidel's production, which incorporates tap dance and live foley work. The production of "Machinal" opens on June 7 and runs through July 3, 2025.  Get your tickets here: https://www.nycitycenter.org/pdps/2024-2025/machinal/ ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.

A classic example of early twentieth-century expressionism, Sophie Treadwell's Machinal is an evocative depiction of an oppressive society. The 1928 play has recently been produced by companies around the world as its relevance, frighteningly, continues. Listen in as Jackson and Jacob discuss this moving, masterful work.  ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.

Theater critic J. Wynn Rousuck joins Midday to share another weekly review of a local theatrical production. Rousuck reviewed Machinal, at Fells Point Corner Theatre through September 29. The play leans into Expressionism, Rousuck said. How is that conveyed on stage?Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

The return of Rosie Sheehy! Fresh from her critically acclaimed performance of the Young Woman in Sophie Treadwell's "Machinal" at the Old Vic, Rosie returns to discuss her experience in the play and her unique take of Puck in A Midsummer Nights Dream at the RSC. Machinal is based on the true story of Ruth Snyder who was executed in the electric chair in 1928 after murdering her husband Albert with her lover Henry Jude Gray. A play talking about the dark side of human ambition, frustration and need for freedom. The Young Woman (Ruth Snyder) seeks to end her relationship with her abusive husband Albert and together they plot and successfully kill him. It's a commentary on how some human beings are pushed to the edge, what we are capable of and the lengths we'll go to to get away from an abuser. Rosie gave an stupendous performance of this highly demanding role on both an emotionally and physically level. She talks me through the challenges and rewards of the part, as well as the key part of her preparation and the warm down after the show. On top of this, since our last conversation she also did Puck at the RSC directed by Eleanor Rhode. She brilliantly discusses how she found her own version of the classic character and she made it her own. Such a pleasure as always Rosie, great to have you back! Oliver Gower Spotlight Link: https://www.spotlight.com/9097-9058-5261 Instagram: @goweroliver For enquiries and requests: olliegower10@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/uncensored-critic/message

Today, I'm thrilled to announce my interview with the brilliant director Michael Greif, who completed a rare trifecta this season, directing the Broadway productions of Hell's Kitchen, Days of Wine and Roses, and The Notebook. Tune in today to hear him share insights from his storied career, including the personal significance of directing at the Shubert Theater, how a production of MACHINAL jumpstarted his career, the challenges and rewards of reviving ANGELS IN AMERICA, what drove him to accept a position as the artistic director of the La Jolla Playhouse, developing and refocusing NEXT TO NORMAL with Tom Kitt and Brian Yorkey, why he uses music in many of his plays, why NEVER GONNA DANCE couldn't ultimately succeed, the joy of collaborating with Patti LuPone, his long tenure with The Public Theater, how he addresses the cast of every production of RENT, the special qualities he saw in Idina Menzel and Maleah Joi Moon at the beginning of their careers, why he decided to bring Schele Williams on as his co-director for THE NOTEBOOK, the play of his that almost moved to Broadway, the musical rule that he discovered while working on GIANT, WAR PAINT, and IF/THEN, and so much more. 

Ethical non-monogamy, platonic friendships and TikTok dating coaches: we get into all manner of divisive topics this week, huns, before a big old debate on North West, who has recently reignited the nepo-baby conversation with her controversial performance as Simba in the Lion King. Should adults be critiquing a child on the internet? And how does Kim and Kanye's parenting approach figure? Speaking of, the Kardashians have returned to Disney for a new season and the elephant in the room is Ozempic. From Kylie and Kims' shrinking frames, to scenes blatantly showing Wegovy in Scott Dissick's fridge – are they now knowingly positioning themselves as the poster family for weight loss drugs? And how do we as a society navigate the glamorisation of Ozempic; can the benefits really outweigh the side effects? Next is a look at Will Smith's upcoming comeback, why Brad Pitt's daughter is dropping his surname and, finally, a review of the new Netflix series everyone's talking about, Eric, starring Benedict Cumberbatch as Vincent, a puppeteer in 1980s New York whose nine-year-old son goes missing. Is Eric the most divisive show of 2024?  DM us your thoughts on Instagram @straightuppod, and let us know what you'd like us to cover next week! And as ever please leave us a review on Apple Podcasts, a rating on Spotify, lysm! Thanks so much to our amazing partner London Nootropics, our fave adaptogenic coffee that naturally actually boosts mental clarity and physical energy, while also easing anxiety, all without any of coffee's usual jitters. We are obsessed and you will be too! Get 20% OFF YOUR BOX with the DISCOUNT CODE straightup at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠londonnootropics.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Reccos discussed: Sentimental Garbage, Caroline O'Donoghue  Aubrey Marcus on the dark side of open relationships, Diary of a CEO  Where Have All My Guy Friends Gone? The Cut Gone Girl (the ‘cool girl' monologue) The Case for Marrying an Older Man by Grazie Sophia Christie, The Cut The Cult of the Provider Man, The Cut  The Kardashians Season Five on Disney + Magic Pill: The Extraordinary Benefits and Disturbing Risks of the New Weight-Loss Drugs by Johann Hari Our review of Jada Pinkett's memoir (19 Oct 2023 episode) Eric, Netflix Eric review – Benedict Cumberbatch will win awards for this wildly ambitious drama, The Guardian Eric review: Benedict Cumberbatch excels as a weirdo in dark, misanthropic missing-child drama, The Independent Eric Shows Everything That's Wrong With Mid TV, The Atlantic  Dark Days (2000 documentary film)  Machinal at The Old Vic

Dans cet épisode, Emmanuelle Stock, Hélène Machinal, Elaine Després, Louis-Paul Willis, Maude Lafleur et Manon Barret questionnent la fiction dystopique The Handmaid's Tale (La Servante écarlate). Iels se penchent sur les questions de l'infertilité et de la stérilité, du politique et du sacré, du discours écologique, du rapport à l'animalité, du signe et des enjeux psychanalytiques dans l'œuvre romanesque de Margaret Atwood et son adaptation télésérielle depuis 2017 par Bruce Miller sur Hulu. Elaine Després est professeure associée et coordonnatrice au Centre Figura de l'UQAM. Ses recherches portent sur les représentations imaginaires de la science, sur la science-fiction et les dystopies, autant en littérature qu'en séries télé. Emmanuelle Stock est professeure agrégée, doctorante en littérature comparée sur la science-fiction féminine à l'Université de Rouen et chargée de mission cinéma-audiovisuel à la Délégation Académique aux Arts et à la Culture. Son travail de thèse porte sur la chair et la voix féminine dans la science-fiction française et étrangère. Hélène Machinal est professeure en Études anglophones à l'Université Rennes 2 et membre de ACE. Elle est spécialiste de littérature fantastique, du roman policier et de la fiction spéculative du XIXe au XXIe siècle. Elle travaille par ailleurs sur les séries TV et les représentations du posthumain, plus particulièrement l'imaginaire de la science dans les fictions policières, fantastiques et de SF. Louis-Paul Willis est professeur d'études cinématographiques et médiatiques ainsi qu'UER en création et nouveaux médias à l'UQAT. Maude Lafleur (elle/iel) est chargé·e de cours et titulaire d'un doctorat en études littéraires de l'Université du Québec à Montréal. Personne co-fondatrice et éditeurice aux éditions Diverses Syllabes, iel signe des textes d'autofiction et des textes universitaires au sein de plusieurs collectifs dont Troubles, nos ombres et Mortel·les, parus durant la dernière année. En plus de siéger sur le comité de rédaction de la revue Moebius, Maude travaille présentement sur un roman à paraître. Manon Barret est doctorante en deuxième année au sein du laboratoire Littérature Imaginaire et Société (LIS) de l'Ecole Doctorale Humanité Nouvelles – Fernand Braudel (HN – FB) à l'Université de Lorraine. Elle réalise une thèse intitulée « Crise de la procréation dans les dystopies écologiques à l'aube du XXIème siècle » dans laquelle elle étudie des fictions littéraires, télésérielles, cinématographiques et bédéistiques. Ses champs de recherche principaux sont les études de genre (gender studies), le genre fictionnel de l'anticipation et l'éco-critique. Ce podcast a bénéficié d'une aide de l'État français, gérée par l'Agence Nationale de la Recherche, au titre du projet Investissements d'Avenir Lorraine Université d'Excellence, portant la référence ANR-15-IDEX-04-LUE

Nancy and Sarah discuss terrific new productions of Love's Labour's Lost at the Royal Shakespeare Company and Machinal at the Old Vic and Nancy reveals the secrets of memorising long parts - and why the writers whose words are hard to learn aren't always the ones that you'd expect. Hosted on Acast. See acast.com/privacy for more information.

In episode 104 we review three new plays currently running in London; Sarah Gordon's new play, Underdog: The Other Other Bronte at The National's Dorfman Theatre; Richard Jone's production of Sophie Treadwell's seminal Machinal at The Old Vic; and Nye, a new play about the birth of the National Health Service, staged at The National Theatre, and starring National Treasure Michael Sheen. Hosted on Acast. See acast.com/privacy for more information.

This week, Ruth Wilson explains why she's running this year's London Marathon for an Alzheimer's research, following in the footsteps of her father who ran the first London Marathon in 1981.Tuesday was the deadline to register to vote in the local elections on May 2nd. The most recent data suggest that 4.3 million young people in England aren't currently registered. We hear from Sharon Gaffka, who's supporting the Give an X campaign, that's calling on young people to get involved. A survey by the youth led charity My Life My Say also says that fewer than 1 in 6 of young women trust politicians and more than four in 10 believe their vote won't make a difference in an election. We also hear from Rosie Campbell, Professor of Politics and Director of the Global Institute for Women's Leadership at King's College London, to explain the trends behind the latest data.Social media platform Meta disabled Soul Sisters Pakistan for 43 hours earlier this month due to an intellectual property violation. Soul Sisters Pakistan was set up 11 years ago by the entrepreneur and activist Kanwal Ahmed as a support system for women to discuss topics considered taboo in Pakistani society, such as sex and divorce. In the past, the group has been accused by some of promoting divorce and 'wild' behaviour. With over 300,000 members, who dub themselves soulies, In 1927 journalist Sophie Treadwell attended the sensational trial of Ruth Snyder, a New York woman accused murdering her husband. Ruth was found guilty, along with her accomplice lover Henry Judd Gray, and both were executed by electric chair in January 1928. Those events inspired Sophie Treadwell to write the play Machinal, which premiered on Broadway later that year. A recent production has just transferred from the Theatre Royal Bath to the Old Vic in London and its star, Rosie Sheehy, along with US academic Dr Jessie Ramey join Jessica to discuss the case of Ruth Snyder and why Machinal still resonates with audiences today.Professor Netta Weinstein of the University of Reading, is the co-author of a new book, Solitude: The Science and Power of Being Alone and joins us to discuss the benefits of solitude.Jing Lusi stars as DC Hana Li in ITV's new thriller Red Eye, set on a plane flying between London and Beijing. She joins Jessica Creighton to talk about what it's like to play a lead role for the first time, and how important it is to see British East Asian women as the main progatonistPresenter Anita Rani Producer Annette Wells

Deborah Snyder has produced some of the biggest blockbusters and action franchises in the last decade including Wonder Woman, 300 and Watchmen. Her newest work, Rebel Moon - Part Two: The Scargiver arrives on Netflix this week. It's the second instalment of the Rebel Moon series, a space opera set in a fictional galaxy with a female protagonist. Deborah produced it alongside her husband and long-term creative collaborator, director Zack Snyder. She joins Jessica Creighton live in the studio.Today is the deadline to register to vote in the local elections on May 2nd. The most recent data suggest that 4.3 million young people in England aren't currently registered. Jessica speaks to Sharon Gaffka, who's supporting the Give an X campaign, calling on young people to get involved. A survey by the youth led charity My Life My Say also says that fewer than 1 in 6 of young women trust politicians and more than four in 10 believe their vote won't make a difference in an election. Professor of Politics and Director of the Global Institute for Women's Leadership at King's College London will join Jessica to explain the trends behind the latest data. In 1927 journalist Sophie Treadwell attended the sensational trial of Ruth Snyder, a New York woman accused murdering her husband. Ruth was found guilty, along with her accomplice lover Henry Judd Gray, and both were executed by electric chair in January 1928. Those events inspired Sophie Treadwell to write the play Machinal, which premiered on Broadway later that year. A recent production has just transferred from the Theatre Royal Bath to the Old Vic in London and its star, Rosie Sheehy, along with US academic Dr Jessie Ramey join Jessica to discuss the case of Ruth Snyder and why Machinal still resonates with audiences today.

For episode 099 of Actorcast, we are joined by Olivier award-winning actress, Fiona Shaw! I had such a wonderful time speaking with Fiona. I had taken a master class with her several years ago, and ever since then I've been fascinated with her perspective on acting. We discuss what acting means to her, how actors get in their own way, how the entertainment industry has evolved, and how to determine if you are on the right path as an actor. You do not want to miss this episode! Fiona Shaw is an Irish film and theatre actress, known for her work with the Royal Shakespeare Company and the National Theatre, as well as in film and television.  She won the 1990 Laurence Olivier Award for Best Actress for roles in the plays Electra, As You Like It, The Good Person of Szechwan, and Machinal. She received three Olivier Award nominations for her roles in Mephisto, Hedda Gabler, and Happy Days. She made her Broadway debut playing the title role in Medea for which she earned a nomination for the Tony Award for Best Actress in a Play. She returned to Broadway in the Colm Tobin play The Testament of Mary. In film, she played Petunia Dursley in the Harry Potter film series. Other notable film roles include in My Left Foot, Persuasion, Jane Eyre, The Tree of Life, Colette, and Enola Holmes. Follow my work at https://patrick-mcandrew.com and @patrick.mcandrew Photo credit:  © Marie-Lan Nguyen / Wikimedia Commons

From gender bending characters to throwing holy water in AKB's face, we're here for all things Arnie. Within the teeny weeny confines of their dressing room at New World Stages, AKB and Arnie are always in the midst of a kiki. This time, we get to listen in.... muaaahahahahahaha. Arnie's credits include... Broadway: Peter And The Starcatcher, The 39 Steps, Machinal, A Free Man Of Color, Amadeus. Off-Bway includes Lewiston/Clarkston (Drama Desk nomination, Featured Actor), The Government Inspector (Calloway Award), The Mystery of Irma Vep (Drama League nomination), The Temperamentals (Drama Desk Award ensemble), The New Yorkers (Encores), Timon Of Athens, The Explorers Club, Tail! Spin!, Fairycakes, Mere Mortals, Lives of The Saints. TV and Film include "The Other Two" (season 3, recurring), "Evil," "WeCrashed," "Jessica Jones," "Search Party," "Elementary," "Murphy Brown," "Frasier," The Greatest Showman, The Invention of Lying, Igby Goes Down. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dans le cadre de cet épisode, Elaine Després reçoit Marion Gingras-Gagné, Lisa Haristoy et Hélène Machinal pour discuter de romans de science-fiction futuristes qui proposent des conceptions alternatives du genre féminin. Elles abordent notamment Le Silence de la cité et Chroniques du pays des mères d'Elisabeth Vonarburg, The Stone Gods et Frankissstein de Jeannette Winterson, Salt Fish Girl et The Tiger Flu de Larissa Lai, L'Ordre et la Doctrine de Marie-Josée Martin et Wollstonecraft de Sarah Berthiaume.

Dans le cadre de cet épisode de la série Pop-en-stock transatlantique, Elaine Després reçoit Antonio Dominguez Leiva, Hélène Machinal, Shannon Welles-Lassagne et Louis-Paul Willis pour discuter du roman uchronique de Philip K. Dick The Man in the High Castle publié en 1962 et de son adaptation télévisuelle par Amazon en 2015. Ils abordent en particulier les enjeux transmédiatiques de cette adaptation particulièrement réussie.

Today I'm joined by legendary character actor William Fichtner. I had him on the show to discuss his latest film 88. Having appeared in a wide range of films along with television and theater roles over the course of his career, William Fichtner continues to carve out a distinctive reputation as one of our most versatile and talented actors, whether in comedy or drama, action or character study. He is one of Hollywood's most distinct and familiar faces. Fichtner can next be seen in the Robert Rodriguez feature film Hypnotic alongside Ben Affleck and Alice Braga, and in 88 directed by Thomas Ikimi. Other recent films include The Birthday Cake, co-starring Ewan McGregor and Val Kilmer; The Space Between, opposite Kelsey Grammer and directed by Rachel Winter; Jack & Josie directed by Sarah Lancaster; Armed, written and directed by Mario Van Peebles; Finding Steve McQueen with Forest Whitaker, and opposite Jeffery Wright in the indie feature O.G. directed by Madeleine Sackler that premiered on HBO. Fichtner also starred alongside Jon Voight in the indie feature American Wrestler: The Wizard; Krystal directed by William H. Macy, and produced and starred in the indie feature The Neighbor. Pivoting to the other side of the camera, Fichtner directed, produced, co-wrote, and starred in his feature film Cold Brook shot mostly in his hometown of Buffalo, New York. Segueing between television and feature films, Fichtner led an ensemble cast in the original first 2 seasons of the international crime series Crossing Lines. He recurred on HBO's Entourage from 2009-2011 and played ‘FBI Agent Alexander Mahone' for three seasons on Fox's hit drama series, Prison Break. William recently played Adam on CBS's hit show Mom opposite Allison Janney, from creator Chuck Lorre. William can now be seen in the Peacock limited series Joe vs Carol where he stars alongside Kate McKinnon and John Cameron Mitchell. Other feature films include 12 Strong for producer Jerry Bruckheimer; Independence Day:Resurgence directed by Roland Emmerich; Paramount's Teenage Mutant Ninja Turtles; director Gore Verbinski's The Lone Ranger and Neil Blomkamp's Elysium. He also co-starred in writer-director Paul Haggis' Academy Award-winning Crash. For his performance in that film, he shared a Screen Actors Guild Award for Best Ensemble Cast in a Feature Film. Other film credits include Drive Angry for director Patrick Lussier; Shawn Levy's Date Night; Blades of Glory with Will Ferrell; Chris Nolan's The Dark Knight; the remake of The Longest Yard; the comedy The Amateurs with Jeff Bridges; Rodrigo Garcia's Nine Lives; Ridley Scott's Black Hawk Down; What's The Worst That Could Happen; Wolfgang Peterson's The Perfect Storm; Drowning Mona; Ultraviolet and Equilibrium, both for writer-director Kurt Wimmer; Armageddon directed by Michael Bay; Michael Mann's Heat; Robert Zemeckis' Contact; Doug Liman's Go; Strange Days directed by Katherine Bigelow; Passion of Mind; Steven Soderbergh's The Underneath; Agnieszka Holland's Julie Walking Home and The Settlement with John C. Reilly, among many others. As a member of the Circle Repertory Theatre, Fichtner won critical acclaim for his role in The Fiery Furnace, directed by Norman Rene. Other stage credits include Raft of the Medusa at the Minetta Lane Theatre, The Years at the Manhattan Theatre Club, Clothes for a Summer Hotel at the Williamstown Theatre festival and Machinal at The Public Theatre. 88 is currently available on VOD. --- Support this podcast: https://podcasters.spotify.com/pod/show/followingfilms/support

This week: murder, mayhem, and Machinal! That's right - we're bringing you Sophie Treadwell! This extraordinary woman was a groundbreaking journalist, author, actress, and playwright who forged forward, leaving chaos but paving the way for other women to follow. Her work, like her, is strong, powerful, and passionate! Join us! 

Épisode 12. La technologie est-elle neutre ? Quelles sont ses promesses ? À qui profite-t-elle réellement ? FACE AU MONDE-MACHINE est une série de podcasts techno-critique avec les Grenoblois de Pièces et main d'œuvre (PMO). Plongez dans la riche aventure intellectuelle et historique de l'écologie anti-industrielle grâce à cet entretien au long cours. https://floraisons.blog/face-au-monde-machine/ PIÈCES ET MAIN D'ŒUVRE. Le Règne machinal (La crise sanitaire et au-delà). Service compris, 2021. Projet Cybersyn --- Send in a voice message: https://anchor.fm/floraisons/message

We are excited to bring you this podcast series, Choreographers in Conversation. This series will allow choreographers to interview other choreographers whose work excites them as a way to learn more about their craft and preserve the stories of these exciting artists in our industry. In this episode Sam Pinkleton interviews Annie-B Parson. The two discuss the experience of choreographing for musicians and opera, being a choreographer not a dancer, and how one collaborates or doesn't with dancers and musicians. Sam asks Annie-B about how she prepares for a project, who she makes dance pieces for, and how she thinks teaching influences her work. Additionally, the two talk about Annie-B Parson's new book called The Choreography of Everyday Life that was published on October 11th, 2022. They also reiterate that choreographers are for more than carrying a couch across the stage.  Annie-B Parson: Annie-B Parson is a choreographer. She has made choreography for rock shows, marching bands, movies, museums, objects, television, augmented reality, opera, ballet, theater, symphony orchestras, string quartets, and a chorus of 1,000 amateur singers. She has made dance and stagings for the work of David Byrne, David Bowie, Lorde, St. Vincent, Mikhail Baryshnikov, Wendy Whelan, Laurie Anderson, Suzan Lori Parks, Spike Lee, Jonathan Demme, Salt ‘n Pepa, Esperanza Spalding, David Lang, Anne Carson, and the Martha Graham Dance Co. Annie-B is the artistic director of Big Dance Theater. Annie-B just published a new book on October 11, 2022 called The Choreography of Everyday Life. https://www.bigdancetheater.org/founders-directors/ Sam Pinkleton:  Sam Pinkleton is a Tony Award-nominated theater and dance maker. His work on Broadway includes Natasha, Pierre, and the Great Comet of 1812, Machinal, Heisenberg, Significant Other, Amélie, and Macbeth. His recent work includes Jeanine Tesori and David Henry Hwang's Soft Power, the youth-led civic spectacular Runaways in Central Park and collaborations with the Dutch National Opera, Carnegie Hall, BAM, Virgin Voyages, The Civilians, Swing Left, and Cirque du Soleil. He is currently directing the world premiere of Noah Diaz' You Will Get Sick for Roundabout Theater Company. He does not own any dance shoes. sampinkleton.com Stage Directors and Choreographers Foundation: Founded in 1965, Stage Directors and Choreographers Foundation (SDCF) exists to foster, promote, and develop the creativity and craft of stage directors and choreographers. SDCF's mission is to create access to the field, to connect artists to each other and to the public, and to honor these artists' theatrical legacies. The centrality of directors and choreographers in theatre and the impact they have on other artists' careers—from playwrights to designers to actors—makes SDCF's services essential to the wider theatre industry's continued health and vitality. Through its dynamic educational programming, including Observerships, Fellowships, public panels, and day-long symposia, SDCF serves the needs of directors and choreographers at every stage of career. www.sdcfoundation.org

Sophie Le Hiress, Université de Bretagne Occidentale (Brest), ED Arts, Lettres et Langues, Laboratoire HCTI (Héritages et Constructions dans le Texte et l'Image) Agrégée d'anglais en 2017, et docteure en langues, littératures et civilisations anglophones depuis décembre 2021, mon sujet de thèse portait sur « Le détective herméneute en fiction sérielle : origines et évolutions d'une figure mythique, du texte à l'image » (sous la direction de Madame Hélène Machinal et de Madame Isabelle Durand). Cette thèse visait à étudier les évolutions de la figure du détective herméneute dans les séries par le biais de ses transpositions à l'écran, et d'étudier la manière dont l'identité du personnage s'est constituée, par un phénomène de répétition et de variation, par le biais des transfictions qui l'ont mis à l'honneur, mais aussi grâce aux innombrables reprises dont la figure a fait l'objet jusque sur les médias sociaux. J'ai bénéficié pendant trois ans d'un contrat doctoral d'établissement au sein du laboratoire HCTI et je suis maintenant ATER dans le département d'anglais de l'UBO. J'ai été représentante des doctorants HCTI de 2017 à 2019 et, dans ce cadre, j'ai participé à l'organisation des séminaires du laboratoire et du premier colloque de doctorants et jeunes chercheurs qui s'est tenu à Brest en juin 2019. Elle analyse ici la série SHERLOCK où elle s'attache au comportement des fans par rapport à la série. Elle aborde cela selon les thématiques suivantes : 1. Pourquoi une nouvelle adaptation de Sherlock Holmes ? - la frustration de certains lecteurs face au manque d'information sur certaines enquêtes, et surtout sur Holmes lui-même - la communauté des « sherlockiens » et des « holmésiens », et le phénomène de transfictionnalité - notion d'horizon d'attente et difficulté à se démarquer parmi les innombrables adaptations antérieures - nouveau contexte diégétique et extra-diégétique pour la série : la société numérique et l'ère des réseaux sociaux 2. Le fonctionnement des fandoms - définir ce qu'on entend par « fan » et « fandom » - notion de culture participative - notions de culture de la convergence et d'intelligence collective - cas du réseau social Tumblr et des publications participatives visant à partager et mutualiser des connaissances : création de véritables communautés de fans 3. Sherlock et ses fans - notion de « forensic fandom » : les fans deviennent des détectives à l'image du personnage principal - les fans s'approprient la méthode du détective pour poursuivre l'enquête au-delà de la diégèse - rapport ludique entre les créateurs de la série et les fans : jeu de références plus ou moins cachées pour les spectateurs-lecteurs, spéculations des fans entre les épisodes/saisons, reprises diégétiques des théories de fans, contenu transmédia - notion de suspension consentie de l'incrédulité répandue chez les amateurs de Holmes et qui trouve de nouvelles expressions à l'ère des réseaux sociaux (fan fictions, création de vidéos, débats sur les réseaux, hashtag « I believe in Sherlock ») - faire vivre la série en dehors de la diégèse (particulièrement important dans le cas de Sherlock qui aurait pu souffrir de l'irrégularité de la diffusion des saisons et des hiatus de plusieurs années entre les saisons) Plus d'infos sur https://www.histoireenseries.com

Elaine Després, Florent Favard et Hélène Machinal reviennent ensemble sur la série Fringe de J. J. Abrams, Alex Kurtzman et Roberto Orci, qui a été diffusée sur la chaîne Fox de 2008 à 2013. Ils discutent notamment de complexité narrative des séries contemporaines, du motif de la transgression et des représentations de la science et des savants fous. Ils se questionnent également sur les différents enjeux de genre, mais aussi du traitement des corps souvent brutalisés que met en scène la série. Le body horror y est-il simplement un simple spectacle ou problématise-t-il la dualité corps/esprit?

In Horror Saxa's second episode, Amelia and Brett cover the story of Ruth Snyder, the 1920s murderess who inspired Machinal, a play recently adapted by Georgetown's own Mask and Bauble.... Read more The post Horror Saxa: Episode 2, Ruth Snyder appeared first on The Georgetown Voice.

ARTEFACT : Le podcast jeu vidéo qui parle art et culture EP9 : Deus EX : visions du futur. Au programme : - DOSSIER : « Deus Ex : visions du futur ». Où l'on analyse les liens entre l'iconographie post-anatomique de la série Deus Ex (et particulièrement des épisodes Human Revolution et Mankind Divided) et le contexte cyberpunk de son récit mais aussi de ses particularités de gameplay. - PIXELS : 2 pixels animaliers. - Ghost of a Tale, SeithCG, 2018. www.ghostofatale.com - Ghost Giant, Zoink Games, 2019. ghostgiant.zoinkgames.com Bibliographie rapide du dossier : - Elaine Després et Hélène Machinal (dir.), PostHumains. Frontières, évolutions, hybridités, Presses Universitaires de Rennes, 2014. - Mark Downham, Cyberpunk, Éditions Allia, 2013 [1988]. - Édouard Kleinpeter (dir.), L'Humain augmenté, CNRS Éditions, 2013. - Paul Davies, Jonathan Jacques-Belletête et Martin Dubeau, The Art of Deus Ex Universe, Titan Books, 2016. Musiques du podcast : OST Deus Ex: Human Revolution : Michael McCann, Icarus, 2011. Michael McCann, Jewel of the Orient, 2011. -Trailer de Ghost Giant. OST Ghost of a Tale : seithcg.bandcamp.com/album/ghost-of-a-tale Jeremiah Pena, Containher, Mathieu Alvado, In the Beginning, 2019. Jeremiah Pena, Containher, Mathieu Alvado, Faustus Tale, 2019. OST Ghost Giant : Claude Debussy, Clair de Lune (Suite Bergamasque), 1890-1905. Artistes plasticiens cités : Chen Chieh-Jen www.artsy.net/artist/chen-chieh-jen-chen-jie-ren Stelarc stelarc.org/projects.php

ARTEFACT : Le podcast jeu vidéo qui parle art et culture < EP4 : BioShock part. 1/2 : « La mer. Qu'on voit danser…♫ » Au programme : - DOSSIER : BioShock part. 1/2 : « La mer. Qu'on voit danser …♫ » Où l'on analyse la forme et le fond du premier épisode de la franchise BioShock à travers sa direction artistique mais également via les thématiques directement développées par le jeu (ou indirectement soulevées). - PIXELS : volée de 4 pixels pour les fêtes de fin d'année. Avec 2 jeux en VR : Moss (Polyarc) Astro Bot: Rescue Mission (Japan Studio). Et 2 jeux pour toute la famille : Yonder: The Cloud Catcher Chronicles (Prideful Sloth) Katamari Damacy: Rerolled (Bandai Namco). Bibliographie rapide du dossier : - Fredric Jameson, Archéologies du futur. Le désir nommé utopie, Max Milo, 2007. - Grant Tavinor, The Art of Videogames, Wiley-Blackwell, 2009. - Matthew Jason Weise, « BioShock : A Critical Historical Perspective », Eludamos. Journal for Computer Game Culture, 2008, 2 (1), Eludamos, 2008. - Jean-François Chassay, Hélène Machinal et Myriam Marrache-Gouraud (dir.), Signatures du Monstre, Presses Universitaire de Rennes, 2017. pur-editions.fr/detail.php?idOuv=4463 Jeux cités dans le dossier : Irrational Games/2K Games : BioShock (2007) BioShock Infinite (2013) 2K Marin/ 2K Games : BioShock 2 (2010) System Shock, Looking Glass Studios/Origin System, 1994. System Shock 2, Looking Glass Studios/Electronic Arts, 1999. Dishonored, Arkane Studios/Bethesda Softworks, 2012. Dishonored 2, Arkane Studios/Bethesda Softworks, 2016. Musiques du podcast : Gary Schyman, Sounds of Rapture, 2007 : - BioShock Main Theme (The Ocean on His Shoulder) - Welcome to Rapture - Cohens Masterpiece Jason Graves, Moss (Original Game Soundtrack), 2018 : - Twofold polyarcgames.bandcamp.com/album/moss-o…e-soundtrack - Trailer Astro Bot: Recue Mission (2018) - Trailer Yonder: The Cloud Catcher Chronicles (2017) - Trailer Katamari Damacy; Rerolled (2018)

EP11 : « Frankenstein, pixel par pixel » Au programme : - DOSSIER (00:03:16) : « Frankenstein, pixel par pixel » On s'interroge sur la place occupée par la figure de Frankenstein (créature et créateur) dans l'imaginaire des jeux vidéo et on envisage comment cette iconographie peut permettre de penser des gameplay singuliers. - PIXELS (00:58:32): 2 pixels étranges. - Alone In the Dark : The New Nightmare, Darkworks, 2001 (00:59:01). - Control, Remedy, 2019 (01:06:38). www.remedygames.com/games/control/ Bibliographie rapide du dossier : - Mary Shelley, Frankenstein ou le Prométhée moderne. - Claude Aziza, Dictionnaire Frankenstein, Omnibus, 2018. - Hélène Machinal (dir.), Le Savant Fou, Presses Universitaires de Rennes, 2013. - Jean-Jacques Lecercle, Frankenstein : Mythe et philosophie, PUF, 1988. Musiques du podcast : Frankenstein: The Monster Returns Linus / Cha Cha, Soundtrack, 1991. Dead Space Jason GRAVE, Entering Zero-G, 2008. Jason GRAVE, The Hive Mind, 2008. Musique des PIXEL : OST Alone In the Dark : The New Nightmare, 2001. Thierry Desseaux / Stewart Copeland -Trailer de Control, 2019. www.youtube.com/watch?v=F74LLDhAhhI&t=1s

Dans cet épisode d'entretien, Antonio Dominguez Leiva discute avec Hélène Machinal de son dernier ouvrage Posthumains en série : Les détectives du futur, publié dans la collection « Sérial » des Presses universitaires François-Rabelais. Ils abordent le passage d'une sémiotique de la lecture, qui domine le roman policier du 19esiècle, à une sémiotique de l'image dans la science-fiction sérielle du tournant du 21e siècle. Abordant de nombreuses séries comme Sherlock, Fringe, Orphan Black, Mr Robot, Black Mirror ou Altered Carbon, l'ouvrage synthétique et comparatiste permet d'étudier en particulier la quête d'identité et la réflexivité dans ces œuvres. Pour plus d'information sur l'ouvrage, consultez le site web de l'éditeur.

Ross Beschler & Brenna Geffers – College Financial Aid and Career Navigation with Tom & Maria Geffers and Seth Greene Episode 012 Ross Beschler & Brenna Geffers Ross Beschler has been a professional actor for nearly 20 years and is a founding member of the Wilma Theatre's Hothouse Company in Philadelphia. He is also a Hothouse Associate Trainer and teaches the company techniques in summer sessions and international workshops.   Brenna Geffers is a theater-maker and director based in Philadelphia. She has been nominated for Outstanding Direction, Outstanding Choreography, and Outstanding New Play under the Barrymore Awards and has been named Best Director by the Philadelphia Critics' Choice. She has created many new works for theater, opera, and museums like her immersive choose-your-own-adventure opera, Shadow House. She also creates highly dynamic and stylized versions of classic texts like Machinal and Marat/Sade, as well as contemporary pieces like, Knives in Hens and Lulu's Golden Shoes.   Listen to this informational College Financial Aid and Career Navigation episode with Ross Beschler and Brenna Geffers about a career on the stage. Here is what to expect on this week's show: -Some of the unexpected benefits of remote learning -Performance art and theater in a digital space -The many different educational avenues to consider when embarking on a career in performance art -How to nail the audition process -The future of theater in a post-COVID world   Connect with Ross Beschler & Brenna Geffers: Links Mentioned: rossbeschler.com die-castphilly.org   Guest Contact Info: Email brenna.geffers@gmail.com ross.beschler@gmail.com   Learn more about your ad choices. Visit megaphone.fm/adchoices

Au menu de ce premier épisode de la série «Encodage» des Balados OIC, Hélène Machinal, Elaine Després et Sarah Grenier-Millette discutent l'article «Signes, traces, pistes. Racines d'un paradigme de l'indice» de Carlo Ginzburg (1980, Le Débat), et revisitent les archives des communications de Joëlle Gauthier (Penser l'enquête de terrain en études littéraires, 2014), d'Anaïs Guilet (Des tweets et des petites madeleines, 2017) et de Laurence Perron (Portrait de l'internaute en détective, 2018). Les épisodes de la série «Encodage» se veulent un complément aux anthologies Encodage, des lettres thématiques composées de contenus provenant de différents sites web de l'écosystème numérique sur le contemporain du Centre Figura, du Laboratoire NT2 et de l'Observatoire de l'imaginaire contemporain. Tout comme les lettres Encodage, cette série de balado vise à revaloriser d'anciens contenus de recherche de notre écosystème sur l'imaginaire contemporain. Vous y entendrez des extraits d'enregistrement de conférences, de communications et de tables rondes issues des dix dernières années auxquelles s'ajouteront de nouvelles discussions et des contributions de chercheuses et chercheurs qui poseront un regard actuel sur ces archives.

Dans cet épisode, Antonio Dominguez Leiva discute avec Mehdi Achouche, Elaine Després, Régis-Pierre Fieu et Hélène Machinal de l'imaginaire de plus en plus crépusculaire et mortifère de l'exploration spatiale, du moins telle que la représente le cinéma, les séries télé et les jeux vidéo depuis les années 2010. Ils abordent parmi bien d'autres sujets celui de la figure du "sad dad in space", du clone, de la menace extraterrestre, des oeuvres Ad Astra, Interstellar, Moon, For All Mankind, Mass Effect, etc. En supplément à cette discussion, Hélène Machinal se penche sur un autre espace crépusculaire, celui de l'au-delà virtuel dans des séries comme The Good Place ou Upload.

Cet épisode réunit Antonio Dominguez Leiva, Elaine Després, Hélène Machinal, Bertrand Gervais et Jérémy Cornec, qui discutent de la série télévisée de science-fiction américaine The Expanse (Syfy, Prime Video 2015-), basée sur la série de romans du même nom de James S. A. Corey. Ils abordent la biologie et la politique des Belters, le personnage de Miller, le space opera, Don Quichotte, le posthumanisme, la survie dans l'espace, les allégories historiques et bien d'autres choses encore.

Dans cet épisode hors-série, Jean-François Chassay et Elaine Després discutent avec Sylvie Bauer, Aglaé Boivin, Hélène Machinal, Judith Sribnai et Ketzali Yulmuk-Bray de multiples représentations contemporaines du cercueil. Les exemples sont nombreux et variés, allant du cercueil comme hétérotopie aux enterrements problématiques au début de la Nouvelle-France, en passant par ceux de la science-fiction contemporaine, des victimes de Chernobyl, des cercueils absents chez Vincent Brault ou chez Jasmyn Ward et à ceux qui déclenchent des odyssées chez William Faulkner et Graham Swift.

Hélène Machinal est professeure en Études anglophones à l'Université de Bretagne Occidentale et membre de HCTI (EA 4249). Elle est spécialiste de littérature fantastique, du roman policier et de la fiction spéculative du XIXe au XXIe siècle. Elle travaille par ailleurs sur les séries TV et les représentations du posthumain, plus particulièrement l'imaginaire de la science dans les fictions policières, fantastiques et de SF. Dernière publication : Posthumains en série, les détectives du futur, PU François Rabelais, 2020 Elle présente ici la série SHERLOCK diffusée sur la BBC qui retrace les aventures du célèbre détective au XXIe siècle. Les grandes thématiques sont : - Le transfert de l'histoire de l'écrit à l'écran et du XIXe siècle au XXIe - Le rôle et la fonction de Sherlock à l'ère du numérique (et Moriarty en Hacker) - Le rôle de Watson et Lestrade. - Ecrire cette série en tenant compte de l'histoire originale : quel rapport à l'histoire au XXIe siècle ? Plus d'infos sur https://www.histoireenseries.com

Dans cet épisode de la série Pop-en-stock transatlantique, Elaine Després (animation), Hélène Machinal (co-animation), Stéfany Boisvert, Jean-François Chassay, Anaïs Lefevre-Berthelot et Anne-Martine Parent discutent de la mini-série Netflix, The Queen's Gambit (2020) de Scott Frank et Allan Scott, adaptée du roman éponyme de Walter Tevis. Ils abordent la représentation des échecs, de la dépendance, mais aussi du positionnement féministe (ou non) de la série, sa structure classique, son traitement des couleurs, de l'histoire et de la culture populaire, etc.

Livres en séries 2020, une émission spéciale où les auteurs viennent présenter leur ouvrage sur l'étude des séries paru en 2020. Au programme « Une hIstoire de feu et de sang, le Game of Thrones » par Justine Breton, « X-Files, une histoire sans fin » par Frédéric Gai, « Posthumains en séries, les détectives du futur » par Hélène Machinal, « Speak up » les voix féminines dans les séries du début du XXIe siècle » par Anaïs Le Fevre-Berthelot, « La sérialité à l'écran » par Ariane Hudelet, « Troubles en série » par Fabien Boully et « l'Angleterre en séries » par Ioanis Deroide. Plus d'infos sur https://www.histoireenseries.com/

TORCH Goes Digital! presents a series of weekly live events Big Tent - Live Events! Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. Drama Week Biographies: Fiona Shaw CBE Fiona Shaw is an actor and theatre and opera director. She is known for her role as Petunia Dursley in the Harry Potter film series (2001–10), as Marnie Stonebrook in season four of the HBO series True Blood (2011), and as Carolyn Martens in the BBC series Killing Eve (2018–present), for which she won the 2019 BAFTA TV Award for Best Supporting Actress. For her performances in the second seasons of Killing Eve and the comedy-drama Fleabag, Shaw received Primetime Emmy Award nominations for Outstanding Supporting Actress in a Drama Series and Outstanding Guest Actress in a Comedy Series respectively. Fiona has worked extensively with the Royal Shakespeare Company and the National Theatre. She won the 1990 Olivier Award for Best Actress for various roles, including Electra, the 1994 Olivier Award for Best Actress for Machinal, and the 1997 Drama Desk Award for Outstanding Solo Performance for The Waste Land. Her other stage work includes playing the title role in Medea in the West End and on Broadway (2001–02). She was awarded an Honorary CBE in 2001. In 2020, she was listed at number 29 on The Irish Times list of Ireland's greatest film actors. Professor Oliver Taplin, Emeritus Professor of Classics, Magdalen College, Oxford. Professor Oliver Taplin is a fellow of Magdalen College and Professor of Classical Languages and Literature at the University of Oxford. Professor Taplin's main teaching has been in all aspects of ancient Greek epic, tragedy and comedy: Classics, Classics (and Joint Honours), Classics and English, Classics and Modern Languages, Classics with Oriental Studies at Oxford University. Oliver's primary focus as a scholar is on Greek drama, especially from the viewpoint of staging and performance. His first book was The Stagecraft of Aeschylus, in which he dealt with the entrances and exits of characters in Aeschylus's plays. Subsequent books, including Comic Angels (1993) and Pots and Plays (2007) examine vase paintings as evidence for the performance of tragedy and comedy. In 1996, together with Edith Hall, he set up the APGRD (Archive of Performances of Greek and Roman Drama). It is devoted to the international production and reception of ancient plays since the Renaissance. He has also worked with productions in the theatre, including The Oresteia at the National Theatre (1980–81), The Thebans at the RSC (1991–92), and The Oresteia at the National Theatre (1999–2000). Apart from Greek drama, his chief area of interest was in Homer. Oliver retired as Tutor in Classics at Magdalen College, Oxford in 2008. The same year, Oxford University Press published Performance, Iconography, Reception: Studies in Honour of Oliver Taplin, edited by Martin Revermann and Peter Wilson. Further related subjects include vase-painting and theatre; performance studies; reception of ancient literature in modern poetry; practical translation workshops. Currently he is working on a broad-brush book on Greek Tragedy, including a critique of Aristotle’s Poetics. Publications include: The Stagecraft of Aeschylus (Oxford 1977, reissued as a paperback 1989). Greek Tragedy in Action (London and Berkeley 1978; revised edition 1985); also translated into Greek, Japanese and Polish. Greek Fire (London 1990); also translated into Dutch, Portuguese, French, German and Greek. Homeric Soundings. The Shaping of the Iliad (Oxford 1992, reprinted in paperback, 1994). Comic Angels – and other approaches to Greek drama through vase-painting (Oxford 1993, reprinted in paperback, 1994). Pots and Plays. Interactions between Tragedy and Greek Vase-painting of the Fourth Century BC (Getty Museum Publications, Los Angeles, 2007) Sophocles Oedipus the King and other tragedies (Oxford World’s Classics, 2016) Aeschylus The Oresteia (Norton, New York, 2018) His new book, Sophocles' Antigone and Other Tragedies was published in September 2020.

TORCH Goes Digital! presents a series of weekly live events Big Tent - Live Events! Part of the Humanities Cultural Programme, one of the founding stones for the future Stephen A. Schwarzman Centre for the Humanities. Drama Week Biographies: Fiona Shaw CBE Fiona Shaw is an actor and theatre and opera director. She is known for her role as Petunia Dursley in the Harry Potter film series (2001–10), as Marnie Stonebrook in season four of the HBO series True Blood (2011), and as Carolyn Martens in the BBC series Killing Eve (2018–present), for which she won the 2019 BAFTA TV Award for Best Supporting Actress. For her performances in the second seasons of Killing Eve and the comedy-drama Fleabag, Shaw received Primetime Emmy Award nominations for Outstanding Supporting Actress in a Drama Series and Outstanding Guest Actress in a Comedy Series respectively. Fiona has worked extensively with the Royal Shakespeare Company and the National Theatre. She won the 1990 Olivier Award for Best Actress for various roles, including Electra, the 1994 Olivier Award for Best Actress for Machinal, and the 1997 Drama Desk Award for Outstanding Solo Performance for The Waste Land. Her other stage work includes playing the title role in Medea in the West End and on Broadway (2001–02). She was awarded an Honorary CBE in 2001. In 2020, she was listed at number 29 on The Irish Times list of Ireland's greatest film actors. Professor Oliver Taplin, Emeritus Professor of Classics, Magdalen College, Oxford. Professor Oliver Taplin is a fellow of Magdalen College and Professor of Classical Languages and Literature at the University of Oxford. Professor Taplin's main teaching has been in all aspects of ancient Greek epic, tragedy and comedy: Classics, Classics (and Joint Honours), Classics and English, Classics and Modern Languages, Classics with Oriental Studies at Oxford University. Oliver's primary focus as a scholar is on Greek drama, especially from the viewpoint of staging and performance. His first book was The Stagecraft of Aeschylus, in which he dealt with the entrances and exits of characters in Aeschylus's plays. Subsequent books, including Comic Angels (1993) and Pots and Plays (2007) examine vase paintings as evidence for the performance of tragedy and comedy. In 1996, together with Edith Hall, he set up the APGRD (Archive of Performances of Greek and Roman Drama). It is devoted to the international production and reception of ancient plays since the Renaissance. He has also worked with productions in the theatre, including The Oresteia at the National Theatre (1980–81), The Thebans at the RSC (1991–92), and The Oresteia at the National Theatre (1999–2000). Apart from Greek drama, his chief area of interest was in Homer. Oliver retired as Tutor in Classics at Magdalen College, Oxford in 2008. The same year, Oxford University Press published Performance, Iconography, Reception: Studies in Honour of Oliver Taplin, edited by Martin Revermann and Peter Wilson. Further related subjects include vase-painting and theatre; performance studies; reception of ancient literature in modern poetry; practical translation workshops. Currently he is working on a broad-brush book on Greek Tragedy, including a critique of Aristotle’s Poetics. Publications include: The Stagecraft of Aeschylus (Oxford 1977, reissued as a paperback 1989). Greek Tragedy in Action (London and Berkeley 1978; revised edition 1985); also translated into Greek, Japanese and Polish. Greek Fire (London 1990); also translated into Dutch, Portuguese, French, German and Greek. Homeric Soundings. The Shaping of the Iliad (Oxford 1992, reprinted in paperback, 1994). Comic Angels – and other approaches to Greek drama through vase-painting (Oxford 1993, reprinted in paperback, 1994). Pots and Plays. Interactions between Tragedy and Greek Vase-painting of the Fourth Century BC (Getty Museum Publications, Los Angeles, 2007) Sophocles Oedipus the King and other tragedies (Oxford World’s Classics, 2016) Aeschylus The Oresteia (Norton, New York, 2018) His new book, Sophocles' Antigone and Other Tragedies was published in September 2020.

Soprano Kirsten C. Kunkle has been hailed as an outstanding singing actress with a voice that has been described as beautiful, ethereal, powerful, fiery, and bewitching. Among her favorite roles are Agathe in Der Freischütz, the title role in Suor Angelica, Magda and the Foreign Woman in The Consul,” Mimì in La bohème, Rosalinda in Die Fledermaus, Contessa in Le nozze di Figaro, Mother in Amahl and the Night Visitors, Iolanta and Brigitta in Iolanta, Zemfira in Aleko, Lisa in Pique Dame, Donna Elvira in Don Giovanni, Laetitia in The Old Maid and the Thief, and the Witch in Hansel and Gretel. With the Philadelphia Opera Collective, she has created leading roles in numerous world premieres, including Edith Standen in Shadow House, Annie Jump Cannon in Jump the Moon, Edgar Allan Poe in Opera Macabre: Edgar Allan Poe, and Dr. Frankenstein in By You That Made Me, Frankenstein. In 2016, she made her professional straight play debut in Machinal with EgoPo Classic Theater and her professional musical theatre debut as Domina in A Funny Thing Happened on the Way to the Forum with the Scranton Shakespeare Festival. She has an Honorable Mention for The American Prize in Voice – Professional Art Song and Oratorio Division (Women), as well as being a two-time semi-finalist for The American Prize in Opera (Women). She made her Carnegie Hall debut in 2014, as well as being the Pennsylvania District National Association of Teachers of Singing Artist Award winner that year. She won second place in the Roschel Vocal Competition in 2015. She attended Bowling Green State University and the University of Salzburg for her undergraduate studies, majoring in voice performance with minors in Italian and German. Her graduate degrees are in voice performance from the University of Michigan. A voting member of the Muscogee Nation, Dr. Kunkle commissioned and premiered sixteen original compositions, including one of her own, based upon the poetry of her ancestor and highly-acclaimed poet of the Native American Muscogee Nation, Alex Posey. She has recorded extensively through the Comic Opera Guild, specializing in the works of Victor Herbert. Her recordings are collected at the Library of Congress, the National Museum of the American Indian at the Smithsonian Institution, and the Merkel Area Museum in Merkel, Texas. Ms. Kunkle is included on the list of Classical Native American Artists and Musicians at the Smithsonian Institution's National Museum of the American Indian and on the Molto Native Music list of performers. She has been published in peer-reviewed journals and is a successful voice educator. She is the Co-Founder and Artistic Director of Wilmington Concert Opera, a grassroots women and minority led opera company in Wilmington, Delaware. Most recently, she had her solo European debut with the Sofia Philharmonic in the role of Arabella in Johann Strauss II's “Blindekuh.” She is also a NAXOS recording artist for “Blindekuh,” which was released in March of 2020 to extraordinary reviews. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

Olivia and Jay discuss Machinal, a vital piece of early 20th century feminist theatre. --- Support this podcast: https://anchor.fm/high-brow-theatre/support

Miriam Buether’s designs are regularly seen onstage at the Almeida including in Albion, Shipwreck, Machinal, Boy and Game. See some more on her designs here: https://bit.ly/2ML4Pw2 In this episode, she talks to Artistic Director Rupert Goold about her design process, growing up in East Germany, and her advice to emerging designers. This podcast was recorded during the lockdown caused by the Coronavirus outbreak of 2020. If you enjoyed our podcasts and are able to, please consider making a donation to the Almeida Theatre. As a registered charity, it is only with your support that we can continue. Any donation, large or small, will make a huge difference. To donate: Text ALMEIDA 5 to 70460 to donate £5* Text ALMEIDA 10 to 70460 to donate £10* Text ALMEIDA 20 to 70460 to donate £20* *You will be charged the donation amount plus your standard network charge.

"Everybody has something compelling to say, they just need to figure out the best way to say it." -Ellen Kress Ellen Kress discusses her work in Theatre Arts and the implications of our own biases in theatre and beyond. Get in touch! Email: longstorypod@gmail.com Instagram: @longstorypod Twitter: @lsbpod Facebook: Long Story, But Website: longstorypod.com Links from Ellen: Eugene Weekly Review of Machinal: https://www.eugeneweekly.com/2019/01/31/a-modernist-masterpiece-of-a-murderess/ Photos from the production: https://www.flickr.com/photos/universitytheatre/albums/72157703057876292 Book Suggestion from Ellen English with an Accent: Language, Ideology, and Discrimination in the United States by Rosina Lippi-Green Music in this episode: Intro: Boardroom Theme by Unicorn Heads How it Began by Silent Partner She Died Up There by Dan Boden Omonia by Dan Boden The Plan’s Working by Copper Cannell

The Aside Podcasts are a free resource supported by Drama Victoria - Australia's oldest Drama Association This is a Script Tease episode where we talk through some of the world's greatest plays. Jump through the major plot points, give some background and of course, spoil the endings – all in less than 5 minutes. We do the hard work so you can do the easy listening. In this episode we do Machinal by Sophie Treadwell Please feel free to email asidepodcast@outlook.com to ask a question. We will try answer on a future podcast.

EP11 : « Frankenstein, pixel par pixel » Au programme : - DOSSIER (00:03:16) : « Frankenstein, pixel par pixel » On s’interroge sur la place occupée par la figure de Frankenstein (créature et créateur) dans l’imaginaire des jeux vidéo et on envisage comment cette iconographie peut permettre de penser des gameplay singuliers. - PIXELS (00:58:32): 2 pixels étranges. - Alone In the Dark : The New Nightmare, Darkworks, 2001 (00:59:01). - Control, Remedy, 2019 (01:06:38). https://www.remedygames.com/games/control/ Bibliographie rapide du dossier : - Mary Shelley, Frankenstein ou le Prométhée moderne. - Claude Aziza, Dictionnaire Frankenstein, Omnibus, 2018. - Hélène Machinal (dir.), Le Savant Fou, Presses Universitaires de Rennes, 2013. - Jean-Jacques Lecercle, Frankenstein : Mythe et philosophie, PUF, 1988. Musiques du podcast : Frankenstein: The Monster Returns Linus / Cha Cha, Soundtrack, 1991. Dead Space Jason GRAVE, Entering Zero-G, 2008. Jason GRAVE, The Hive Mind, 2008. Musique des PIXEL : OST Alone In the Dark : The New Nightmare, 2001. Thierry Desseaux / Stewart Copeland -Trailer de Control, 2019. www.youtube.com/watch?v=F74LLDhAhhI&t=1s

ARTEFACT / www.artefactpodcast.com > Le podcast jeu vidéo qui parle art et culture < EP9 : Deus EX : visions du futur. Au programme : - DOSSIER : « Deus Ex : visions du futur ». Où l’on analyse les liens entre l’iconographie post-anatomique de la série Deus Ex (et particulièrement des épisodes Human Revolution et Mankind Divided) et le contexte cyberpunk de son récit mais aussi de ses particularités de gameplay. - PIXELS : 2 pixels animaliers. - Ghost of a Tale, SeithCG, 2018. www.ghostofatale.com - Ghost Giant, Zoink Games, 2019. http://ghostgiant.zoinkgames.com Bibliographie rapide du dossier : - Elaine Després et Hélène Machinal (dir.), PostHumains. Frontières, évolutions, hybridités, Presses Universitaires de Rennes, 2014. - Mark Downham, Cyberpunk, Éditions Allia, 2013 [1988]. - Édouard Kleinpeter (dir.), L’Humain augmenté, CNRS Éditions, 2013. - Paul Davies, Jonathan Jacques-Belletête et Martin Dubeau, The Art of Deus Ex Universe, Titan Books, 2016. Musiques du podcast : OST Deus Ex: Human Revolution : Michael McCann, Icarus, 2011. Michael McCann, Jewel of the Orient, 2011. -Trailer de Ghost Giant. OST Ghost of a Tale : https://seithcg.bandcamp.com/album/ghost-of-a-tale Jeremiah Pena, Containher, Mathieu Alvado, In the Beginning, 2019. Jeremiah Pena, Containher, Mathieu Alvado, Faustus Tale, 2019. OST Ghost Giant : Claude Debussy, Clair de Lune (Suite Bergamasque), 1890-1905. Artistes plasticiens cités : Chen Chieh-Jen https://www.artsy.net/artist/chen-chieh-jen-chen-jie-ren Stelarc http://stelarc.org/projects.php

Foley Special Guest Ele Matelan Ele (She/Her/Hers) is probably most recognizable to audiences as WildClaw Theatre’s resident Foley artist. She has designed, choreographed, and performed Foley for their annual Deathscribe horror radio festival since 2011, as well as for companies including Hartlife NFP, Lifeline Theatre, Oak Park Festival Theatre, Columbia College Chicago, Otherworld Theatre, Starlight Radio Dreams, Festival 56, Stone Hearth Theatre, MCL, Columbia College, Prop Thtr, and The Second City Training Center. She has performed with WildClaw's Best of Deathscribe at the Arsht Arts Center in Miami, The Hear Now Audio Arts Festival in Kansas City, and has opened for horror podcast darling The No Sleep Podcast on tour. Ele is also a company member with The House Theatre of Chicago, and her native-Dallas’s Mr. Toad’s Theatre Circle. When she's not making things go BUMP in the night with WildClaw, she performs as Foley artist for Locked Into Vacancy Entertainment's serialized comedy podcasts recorded monthly in front of a live audience at Stage 773. You can hear Ele’s voiceover performances as Cassie Wilkins, Switchblades Cobalt, and more(!) in Hartlife NFP's award-winning, post-apocalyptic audio drama Our Fair City, and as part of the ensemble in their upcoming series Unwell; AND as a member of the ensemble in Toxic Bag's upcoming  audio drama “Tales of Richard: Post-Apocalyptic Cabinet Maker." Ele will work her magic next with Locked Into Vacancy Entertainment. (tickets for the show here) http://www.lockedintovacancy.com/ Foley Special Guest Joe Griffin Joe Griffin’s work as a recording engineer and sound designer over the past 25 years encompasses a wide variety of media, including theatre, film, music, corporate communications and advertising. In the world of indie film, Joe wears a number of hats, notably dialog editor, sound designer,ADR/Foley recordist and re-recording mixer. His filmography includes Nebula Creatives’ shortfilm Out of Sight, which was screened at the 2015 Cannes Film Festival; Hot DiggityProductions’ feature Scary Normal; Sigsaly Entertainment and Conjecture Media’s feature Market Value; and JAMS Productions’ short MOOSE, featuring Samuel L. Jackson. Theatrical sound design work in Chicago includes You Think It’s Easy Being the Tooth Fairy? with Lifeline Theatre; Dracula with The Hypocrites; Coronado and Otherwise Engaged with Steep Theatre Company; three years as designer/composer for A Klingon Christmas Carol with Commedia Beauregard; and four years as music director for Deathscribe, Wildclaw Theatre’s short horror plays festival. Other theatre work includes After Ashley, Angels in America, Machinal and ten seasons of summer Shakespeare at Moraine Valley Community College in Palos Hills, IL, and These Shining Lives, Richard III, Harvest and Macbeth at Oakton Community College in Glenview, IL. Animation sound work includes the award-winning “Hemingway in 15 Seconds” series for the Ernest Hemingway Foundation, and the award-wining “Getting to Know” educational series which features artists such as Andy Warhol, Rembrandt, da Vinci, and Van Gogh, as well as U.S. Presidents Washington, Adams, Jefferson and Lincoln. Joe’s advertising experience is extensive. Since 1992 he has worked on radio, TV and online advertisements for national and international brands such as Dove, Sears, Suave, Allstate, American Family Insurance, BP, 7-Eleven, Miller Lite and the Chicago Blackhawks. In 1996, Joe and business partner Steve Baldwin pioneered the field of sound effects specifically designed for use in tabletop roleplaying. Their Game Masters Collection effects continue to define the state of the art for purpose-built tabletop RPG sound. Joe has recently launched his own series of high-resolution sound effects libraries aimed at audio production professionals. A graduate of Michigan State University and alumnus of Columbia College Chicago, Joe also served on the Professional Advisory Committee at the Illinois Institute of Art for five years. For work samples and expanded projects list: https://griffinsounddesign.wordpress.com/ Joe is currently working on sound design for “The Time Warp Trio” at Lifeline theatre in Chicago; the first season of the audio drama “Tales of Richard: Post-Apocalyptic Cabinet Maker;” Glass City Media’s short film “Limerence;” and an album of soundtrack music for the Warhammer 40k role-playing game.

Welcome to the That's Lit Podcast! We (Brindolyn and Karson) are stoked you've joined us for this audio book club experience.In this inaugural episode, Karson & Brindolyn each read one of the other's favorite books, which couldn't be more different. Karson read "Redwall" by Brian Jacques, while Brindolyn read the play "Machinal" written by Sophie Treadwell.Spoiler alert: Spoilers for "Machinal" are from 34:00 through 43:00 and from 45:00 through 46:19.You can join Brindolyn & Karson for their February reads with "The Color Purple" by Alice Walker and "The Martian" by Andy Weir.You can find us on on Twitter at @ThatsLitPodcast, on Instagram at @ThatsLitPodcast and on Facebook. You can find Brindolyn on Twitter at @Brindolyn and on Instagram at @Brindolyn. And you can find Karson on Twitter at @kgaylet.And you can join Book Riot's 2019 Read Harder Challenge at https://bookriot.com/2018/12/12/2019-read-harder-challenge/.

ARTEFACT / www.artefactpodcast.com > Le podcast jeu vidéo qui parle art et culture < EP4 : BioShock part. 1/2 : « La mer. Qu’on voit danser…♫ » Au programme : - DOSSIER : BioShock part. 1/2 : « La mer. Qu’on voit danser …♫ » Où l’on analyse la forme et le fond du premier épisode de la franchise BioShock à travers sa direction artistique mais également via les thématiques directement développées par le jeu (ou indirectement soulevées). - PIXELS : volée de 4 pixels pour les fêtes de fin d’année. Avec 2 jeux en VR : Moss (Polyarc) Astro Bot: Rescue Mission (Japan Studio). Et 2 jeux pour toute la famille : Yonder: The Cloud Catcher Chronicles (Prideful Sloth) Katamari Damacy: Rerolled (Bandai Namco). Bibliographie rapide du dossier : - Fredric Jameson, Archéologies du futur. Le désir nommé utopie, Max Milo, 2007. - Grant Tavinor, The Art of Videogames, Wiley-Blackwell, 2009. - Matthew Jason Weise, « BioShock : A Critical Historical Perspective », Eludamos. Journal for Computer Game Culture, 2008, 2 (1), Eludamos, 2008. - Jean-François Chassay, Hélène Machinal et Myriam Marrache-Gouraud (dir.), Signatures du Monstre, Presses Universitaire de Rennes, 2017. http://pur-editions.fr/detail.php?idOuv=4463 Jeux cités dans le dossier : Irrational Games/2K Games : BioShock (2007) BioShock Infinite (2013) 2K Marin/ 2K Games : BioShock 2 (2010) System Shock, Looking Glass Studios/Origin System, 1994. System Shock 2, Looking Glass Studios/Electronic Arts, 1999. Dishonored, Arkane Studios/Bethesda Softworks, 2012. Dishonored 2, Arkane Studios/Bethesda Softworks, 2016. Musiques du podcast : Gary Schyman, Sounds of Rapture, 2007 : - BioShock Main Theme (The Ocean on His Shoulder) - Welcome to Rapture - Cohens Masterpiece Jason Graves, Moss (Original Game Soundtrack), 2018 : - Twofold https://polyarcgames.bandcamp.com/album/moss-original-game-soundtrack - Trailer Astro Bot: Recue Mission (2018) - Trailer Yonder: The Cloud Catcher Chronicles (2017) - Trailer Katamari Damacy; Rerolled (2018)

As Yet Unnamed London Theatre Podcast 24-Jun-2018 With T R P Watson  - Gareth James - Plays Discussed Finishing the Picture - Finborough Theatre  [00:20] Machinal - Almeida Theatre  [11:16] Leave Taking - Bush Theatre  [21:28]

The Humans actress Emily Berrington takes a break from appearing in Machinal at London’s Almeida Theatre to join Jo and James for some podcupboard shenanigans, and to advise on how best to unwind from an intense show (hint: watch a lot of Love Island). They discuss Emily’s role in Sophie Treadwell’s play – the true story of a woman who revolts after being forced into marriage to a man she does not love – what the future holds for Humans, and James makes his pitch for the perfect night out at the theatre. And the team discuss their IIJMS: is it just James who doesn’t get offended by public displays of affection? Is it just Jo who has constant inner dialogue? And is it just Emily who thinks she’ll never truly grow up? This week's episode was recorded on June 18. It was edited by Kat Brown, with music by Martin Austwick. Join in the conversation using #isitjustmepodcast, email us your “is it just me?” thoughts on isitjustmepodcast@gmail.com, and find us onTwitter... @jo_elvin | @JamesConradW12 | @katbrown | @berringtonemily and on Instagram... @jo_elvin | @JamesConradW12 | @katbrown82 | @emily_berrington_ And thank you for listening! We'd love it if you rated and reviewed us on iTunes as it helps other people to find our show. See acast.com/privacy for privacy and opt-out information.

We are rounding out 2017 with episode #76 and a fantastic chat with two-time Tony Nominee, Jane Cox! Jane has exploded a lot in the past couple years with her lighting designs for such diverse shows as 'The Color Purple', 'Jitney', 'Amélie', and 'Machinal' and she's chatting about all of them. She tells us about her long-standing relationship with John Doyle and their collaboration on shows like 'Color Purple', 'Road Show', and 'Allegro' as well as her projects with Sam Gold like 'The Flick' and the recent 'Othello', which saw her trying to light an enclosed army bunker with zero conventional theatre lights. Cory and Jane also chat about her new role as the head of the Princeton theatre department, how she's using that position to help create more diverse creative teams, and her path from Dublin to New York. And stick around till the end to hear how she ended up touring with Bob Dylan!

Upstaging On The Town! is a bonus series where Jeremy, Adrian, and Drew talk about productions they've seen together. This episode, we become part of the machine with UNCG's production of Machinal. Also, a guest!

“Challenging, but beautiful and brutal” – Machinal director Edward Dick joins us to discuss the powerful end of term drama with production manager George Lumkin, deputy stage manager Jocelyn Robinson and actors Emma Naomi and Freddy Elletson. Machinal runs in the Silk Street Theatre at Guildhall from 27 March - 1 April 2015

Nominations for the 68th annual Tony Awards were announced Tuesday, with tough competition in several categories. For instance, Tyne Daly, Cherry Jones and Audra McDonald are among the nominees for Best Performance by a Leading Actress in a Play; Sutton Foster, Idina Menzel and Kelly O'Hara are all nominated for Best Performance by a Leading Actress in a Musical.  Leading the nominations list is the musical A Gentleman's Guide to Love and Murder, which earned 10 Tony nods. Hedwig and the Angry Inch staring Neil Patrick Harris, is next with eight nominations. New York Times theater critic Charles Isherwood suggests some likely winners, considers who got snubbed and takes note of the Broadway season as reflected in the nominees list. The Tony Awards will be given out on June 8 at Radio City Music Hall in a ceremony hosted by Hugh Jackman and broadcast on CBS. More from WQXR and WNYC about the nominated productions: A Gentleman's Guide to Love & Murder on Around Broadway and The Leonard Lopate Show. Hedwig and the Angry Inch (preview) on Souncheck. After Midnight on Around Broadway. Beautiful: The Carole King Musical on Around Broadway and The Leonard Lopate Show. The Glass Menagerie on The Leonard Lopate Show. Twelfth Night on The Leonard Lopate Show Bullets Over Broadway an Inside Look in The Greene Space. The Cripple of Inishmaan on NPR. Aladdin on Around Broadway. A Raisin in the Sun an Inside Look in The Greene Space. Casa Valentina an Inside Look in The Greene Space. Machinal on The Leonard Lopate Show. Rocky on Around Broadway. Violet on Around Broadway. Les Misérables on Around Broadway. All The Way on Around Broadway. If/Then on The Leonard Lopate Show and an Inside Look in The Greene Space. Lady Day at Emerson's Bar & Grill on Around Broadway. Mothers and Sons on The Leonard Lopate Show. Of Mice and Men on NPR. A Night with Janis Joplin on Around Broadway. Outside Mullingar on Around Broadway and The Leonard Lopate Show. Richard III on The Leonard Lopate Show.