Podcasts about maeterlinck

durée : 01:29:20 - Fictions / Théâtre et Cie - Pelléas et Mélisande est un drame intemporel ayant marqué le théâtre symboliste mais aussi la composition musicale des débuts du XXème siècle. La pièce de Maeterlinck est adaptée pour la radio, une première mondiale, sur une proposition de Denis Podalydès de la Comédie-Française et Louis Langrée.

durée : 00:27:24 - Fictions / Théâtre et Cie - "La vie est grave et au fond de notre être, notre âme n'a pas encore sourie" Maurice Maeterlinck."

durée : 01:29:20 - Fictions / Théâtre et Cie - Pelléas et Mélisande est un drame intemporel ayant marqué le théâtre symboliste mais aussi la composition musicale des débuts du XXème siècle. La pièce de Maeterlinck est adaptée pour la radio, une première mondiale, sur une proposition de Denis Podalydès de la Comédie-Française et Louis Langrée.

durée : 00:27:24 - Fictions / Théâtre et Cie - "La vie est grave et au fond de notre être, notre âme n'a pas encore sourie" Maurice Maeterlinck."

The rugged, windswept beauty of Sibelius' Violin Concerto is a perfect showcase for Christian Tetzlaff, whose “fiery and compelling” 2022 CSO performance was named one of the year's 10 best by Chicago Classical Review. Schoenberg's Pelleas and Melisande is a lush, quintessentially romantic orchestral portrait of Maeterlinck's mysterious, symbolist play, while Wagner's prelude delivers a thrilling opener. Learn more: cso.org/performances/24-25/cso-classical/tetzlaff-plays-sibelius

durée : 00:03:28 - Le Regard culturel - par : Lucile Commeaux - Petite réflexion sur ce que la présence d'un grand acteur de télévision crée comme étrangeté pour le spectateur de théâtre.

Georgette Leblanc is mainly known as the estranged “wife” of the Belgian poet Maurice Maeterlinck, but our audience will remember her as Margaret Anderson's lover and the woman whose singing made Janet Flanner want to throw herself into the Seine. Sources (Used/Consulted/Read Along the Way) Souvenirs: My Life with Maeterlinck by Georgette Leblanc Four LivesContinue reading "The Sidelined Singer – Ep.46"

In 2024 zijn auteursverenigingen van onschatbare waarde, maar velen realiseren zich niet ten volle op welke manier ze essentieel zijn voor auteurs en muzikanten in een steeds veranderende muziekindustrie. Samen met Olivier Maeterlinck, Head of Communication & Cultural Affairs, werpen we een diepgaande blik op de uitdagingen waarmee SABAM wordt geconfronteerd en welke vraagstukken zich in de komende jaren zullen voordoen voor auteurs, dankzij de globalisering van de industrie en de voortdurende technologische evolutie.

SynopsisIn St. Petersburg, Russia, on today's date in 1909, Alexandre Siloti conducted the first performance of a new orchestral work by a 26-year-old composer named Igor Stravinsky. The work was billed as Scherzo Fantastique, but Stravinsky's original title was Bees.Stravinsky had just completed his studies with the great Russian composer Nicolai Rimsky-Korsakov, whose Flight of the Bumblebee was already a famous musical depiction, so perhaps he wanted to impress his teacher — or try to outdo him.In 1907, Stravinsky wrote to Rimsky-Korsakov, “Just now [my wife] Katya and I have read Maeterlinck's Life of the Bees, a partly artistic, partly philosophical book that pleased me, as they say, down to my toes.”Maeterlinck's book offered an anthropomorphized description of the life cycle of bees describing “the innumerable agitations of the honeycomb, the perpetual, enigmatic and crazy jiggling of the nurses on the brood chamber … the invading spirals of the queen, the various and incessant activities of the crowd … the comings and goings overwhelmed with ardor.”Stravinsky's scoring includes three harps and multiple woodwinds, but omits timpani, trombones and tuba, resulting in a light, nimble and air-born orchestral sound for his busy bees.Music Played in Today's ProgramIgor Stravinsky (1882-1971) Scherzo Fantastique; Montreal Symphony; Charles Dutoit, cond. Decca 414 409

Welcome back to ParaPower Mapping—to tide you over until the next part of the Rosicrucian Road Trip drops in a few days & to build anticipation for the next installment of the "Fin De Siècle Symbolists, Satanists, & French-British Sex Trafficking Networks" miniseries, it's the very first unlocked EP from the Boston Brahmin Watch Premium Feed! Make sure to subscribe to the Patreon to access the full version of Pt. II & Pt. III when it drops next week. patreon.com/ParaPowerMapping This is Part I of a multipart descent into the Decadent Symbolist, Rosicrucian, and Satanic underground of fin de siècle Paris and Victorian London, as well as the related sex trafficking & pedophilia networks that catered to the abhorrent appetites of the monstrous aristocratic elite of the time. This EP covers: the Symbolist writer, son of diplomats, and possible-occultist Marcel Schwob; Aleister Crowley's connections to Schwob; Oscar Wilde + Schwob once again; J.K. Huysmans; Maurice Maeterlinck; Sar Peladan; Peladan's Catholic Rosicrucian order and "Salon de la Rose + Croix"; Robert Louis Stevenson; Schwob's "syphilitic rectal sores"; Wilde's play Salome (which Schwob translated); the Biblical story of Salome, Herod, & John the Baptist; Crowley's assimilation of Salome into Babalon/ Scarlet Woman and his "Jezebel"; the influence of Decadent & Symbolist misogyny on Crowley's writing and occultism; aristocratic traditions of taboo-breaking and pederasty; Crowleyian Thelemic ideas of "justification by sin"; proto-surrealist Alfred Jarry; Ubu Roi; his semi-Satanic closet play Caesar Antichrist; the first-and-only production of Ubu Roi during his lifetime, which devolved into a riot; the fact that W.B. Yeats was in the audience, demonstrating the interconnectedness between the Victorian British & French occult scenes at the time; Crowley's formative time in France; sonnets for Rodin; Schwob connections; shitting on Oscar Wilde; callback to Levenda; Maeterlinck's connection to the French symbolists & his play serving as inspiration for Sheffield Edward's PROJECT BLUEBIRD (MK-ULTRA predecessor); H. Montgomery Hyde—former spy, protege & biographer of Sir William Stephenson (Little Bill), Ulster Unionist MP, and cousin of Henry James... plus H. Montgomery Hyde's strange proclivity for writing book-length works on pederasts, pornography, and homosexuality; the fact that he was deselected around the time of the Wolfenden Report when calling for the decriminalization of homosexuality in the U.K.; Hyde as the source of the rumor that Marcel Schwob died from constipation caused by syphilis from his book The Love that Dared Not Speak It's Name; Joris-Karl Huysmans apostasy and odyssey from Naturalism to Symbolism to Decadent Satanism to Mystic Catholicism; feuding b/w Symbolist occultists & Emile Zola; J.K. Huysmans' A rebours (Against Nature) and its influence on Wilde's Salome and The Picture of Dorian Gray; especially Huysmans' handling of Gustave Moreau's Salome series; preparation to descend into the Satanic underground of Huysmans' Là-bas(The Damned); and finally, Wilde's allusions in The Picture of Dorian Gray to Thelemic, Rabelaisian "Do What Thou Wilt" hedonism and the Cleveland Street Scandal (a scandal where numerous aristocratic men including Lord Arthur Somerset, Earl of Euston Fitzroy, and Prince Albert Victor of Wales were discovered to be frequenting a male brothel that employed young boys)... Songs:  | Kate Bush - "Waking the Witch" | | Alan Tew - "The Detectives" | | Alain Goraguer - "Ten Et Tiwa" | | Françoise Hardy - "Mon Amie La Rose |  | Nicolas Godin - "Quartier General" |  | Serge Gainsbourg, Charlotte Gainsbourg - "Lemon Incest" | 

Welcome back to ParaPower Mapping and the first episode of the BOSTON BRAHMIN WATCH Premium Feed! I'm chuffed, Brahmin Watchers, because the Patreon has finally launched, I managed to relocate the keys to the Boston Brahmin Watch Office, and I'm really excited for y'all to get your hands on this newest research (as dark, enervating, & soul-crushing as it may be). Here's the first half of the first premium feed EP for you to enjoy; and here's hoping your interest is piqued! If you're dying to listen to this EP in its entirety, go to Patreon and subscribe to ParaPower Mapping to unlock it and all sorts of extracurricular goodness. This is Part I of a multipart descent into the Decadent Symbolist, Rosicrucian, and Satanic underground of fin de siècle Paris and Victorian London, as well as the related sex trafficking & pedophilia networks that catered to the abhorrent appetites of the monstrous aristocratic elite of the time. This EP covers: the Symbolist writer, son of diplomats, and possible-occultist Marcel Schwob; Aleister Crowley's connections to Schwob; Oscar Wilde + Schwob once again; J.K. Huysmans; Maurice Maeterlinck; Sar Peladan; Peladan's Catholic Rosicrucian order and "Salon de la Rose + Croix"; Robert Louis Stevenson; Schwob's "syphilitic rectal sores"; Wilde's play Salome (which Schwob translated); the Biblical story of Salome, Herod, & John the Baptist; Crowley's assimilation of Salome into Babalon/ Scarlet Woman and his "Jezebel"; the influence of Decadent & Symbolist misogyny on Crowley's writing and occultism; aristocratic traditions of taboo-breaking and pederasty; Crowleyian Thelemic ideas of "justification by sin"; proto-surrealist Alfred Jarry; Ubu Roi; his semi-Satanic closet play Caesar Antichrist; the first-and-only production of Ubu Roi during his lifetime, which devolved into a riot; the fact that W.B. Yeats was in the audience, demonstrating the interconnectedness between the Victorian British & French occult scenes at the time; Crowley's formative time in France; sonnets for Rodin; Schwob connections; shitting on Oscar Wilde; callback to Levenda; Maeterlinck's connection to the French symbolists & his play serving as inspiration for Sheffield Edward's PROJECT BLUEBIRD (MK-ULTRA predecessor); H. Montgomery Hyde—former spy, protege & biographer of Sir William Stephenson (Little Bill), Ulster Unionist MP, and cousin of Henry James... plus H. Montgomery Hyde's strange proclivity for writing book-length works on pederasts, pornography, and homosexuality; the fact that he was deselected around the time of the Wolfenden Report when calling for the decriminalization of homosexuality in the U.K.; Hyde as the source of the rumor that Marcel Schwob died from constipation caused by syphilis from his book The Love that Dared Not Speak It's Name; Joris-Karl Huysmans apostasy and odyssey from Naturalism to Symbolism to Decadent Satanism to Mystic Catholicism; feuding b/w Symbolist occultists & Emile Zola; J.K. Huysmans' A rebours (Against Nature) and its influence on Wilde's Salome and The Picture of Dorian Gray; especially Huysmans' handling of Gustave Moreau's Salome series; preparation to descend into the Satanic underground of Huysmans' Là-bas (The Damned); and finally, Wilde's allusions in The Picture of Dorian Gray to Thelemic, Rabelaisian "Do What Thou Wilt" hedonism and the Cleveland Street Scandal (a scandal where numerous aristocratic men including Lord Arthur Somerset, Earl of Euston Fitzroy, and Prince Albert Victor of Wales were discovered to be frequenting a male brothel that employed young boys)... Songs: | Kate Bush - "Waking the Witch" | | Alan Tew - "The Detectives" | | Alain Goraguer - "Ten Et Tiwa" | | Françoise Hardy - "Mon Amie La Rose | | Nicolas Godin - "Quartier General" | | Serge Gainsbourg, Charlotte Gainsbourg - "Lemon Incest" |

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The Children's Life of the Bee by Maurice Maeterlinck audiobook. Buzz, buzz, buzz. A fascinating and beautifully written explanation of the life of the honey bee. Maeterlinck, who won the Noble Prize for Literature, wrote a more scholarly work called The Life of the Bee but then rewrote it in simpler terms so that children could appreciate what goes in a hive. The book describes in simple language the inner workings of a hive from its beginning with a swarm to the fully functional hive with thousands of workers, drones and a queen busily building, repairing and gathering. 

Wie op de vlucht slaat, moet een huis achterlaten. Dat is het begin van een onzekere tocht langs tijdelijke, geïmproviseerde woningen. Hoe zien die omgevingen eruit en hoe kan de architectuurwereld tot duurzamere oplossingen komen? Dat vertelt Luce Beeckmans samen met een legertje onderzoekers in de publicatie Making home(s) in displacement. NT Gent nodigt de Zwitserse theatermaker Thomas Luz uit om het werk van de Gentse Nobelprijswinnaar Maurice Maeterlinck onder handen te nemen.

Welcome back for another episode of Nick's Non-fiction with your host Nick Muniz In an exuberantly poetic work that is less about bees and more about life, beekeeper Maurice Maeterlinck expresses his philosophy of the human condition. The renowned Belgian poet and dramatist offers brilliant proof in this, his most popular work, that "no living creature, not even man, has achieved in the center of his sphere, what the bee has achieved." From their amazingly intricate feats of architecture to their intrinsic sense of self-sacrifice, Maeterlinck takes a "bee's-eye view" of the most orderly society on Earth. Subscribe, Share, Mobile links & Time-stamps below! 0:00 Introduction 4:25 About the Author 6:25 Ch1: Bee Backstory 15:15 Ch2: The Swarm 22:10 Ch3: The Life of Bees 26:25 Ch4: Hive Hierarchy 31:35 Next Time & Goodbye! YouTube: https://youtu.be/jlS73tmZy6A Patreon: https://www.patreon.com/TheNiche

I turbamenti del giovane Törless In qualche strana maniera noi svalutiamo le cose appena le pronunciamo. Crediamo di esserci immersi nel piú profondo dell'abisso, e invece quando torniamo alla superficie la goccia d'acqua sulla punta delle nostre dita pallide non somiglia piú al mare donde veniamo. Crediamo di aver scoperto una caverna di meravigliosi tesori e quando risaliamo alla luce non abbiamo che pietre false e frammenti di vetro; e tuttavia nelle tenebre il tesoro seguita a brillare immutato. MAETERLINCK

¿Por qué una editorial independiente de Oaxaca decidió rescatar un libro como La inteligencia de las flores de Mauricio Maeterlinck? Este escritor de otro siglo, sin ser experto en biología, comprendió la sabiduría natural y las lecciones de resiliencia de algunas plantas. Karina Sosa es novelista, autora de la novela Caballo Fantasma, y una de las fundadoras de la editorial Zopilote Rey.

In november 1906 trekken de twee vrienden Cyriel Buysse en Maurice Materlinck erop uit. Ze reizen ‘per auto' naar de het zuiden van Frankrijk. Een auto is op dat ogenblik nog een revolutionaire nieuwigheid en lang niet alle wegen zijn voorzien op dit nieuwe vervoersmiddel. Ze bezoeken o.a. Grasse dat door Buysse als een waar ‘wonderland' wordt omschreven. Later, in 1913, zal Maeterlinck er gaan wonen. In 1930 schaft hij zich zelfs een heus paleis aan nabij Nice, de ‘Villa Orlamonde'.

Théâtre des Champs-Elysées 25 March 1991 Broadcast Hanna Schwarz Orchestre National de France Conductor: Erich Leinsdorf

Maeterlinck's Monna Vanna, set in Italy during the Renaissance, has a timeless theme: Romantic love ennobles the human soul. One rises in love. But how can one recognize true love? What price is worth paying for it? What risk is worth taking for it? This talk will consider the play's special qualities, salient virtues, and significant history, including its role in Ayn Rand's life and work.

durée : 00:10:04 - L'Oiseau bleu de Maeterlinck - par : Marianne Vourch - ETA Hoffmann écrit en 1816 le conte «Casse-noisette et le roi des souris». En 1844, Dumas père propose sa propre vision du personnage féérique dans son recueil « Histoire d'un Casse-noisette ». C'est cette version qui inspire Tchaïkovski lorsqu'il compose son célèbre ballet «Casse-noisette» en 1892. - réalisé par : Sophie Pichon

Tonight, we talked with Lane Savadove, the Founding Artistic Director of EgoPo Classic Theater about performing during pandemic, EgoPo's upcoming season Awakenings and Transformations, and much more, featuring several special appearances by his daughter on location attending a very special birthday party (https://www.egopo.org).~~~~~~~Lane Savadove is the Founding Artistic Director of EgoPo Classic Theater, now in its 27th season.Lane has directed over 40 shows for EgoPo, Off-Broadway, regionally in San Francisco, Chicago, New Orleans, Provincetown, Philadelphia and on National Public Radio. He was the resident director of the National Cultural Center of Indonesia (1996-7), Artistic Director of Jean Cocteau Repertory (2004-5), and Associate Artistic Director of the Living Theater (1989-90).An Independence Foundation Fellow, Drama League Directing Fellow, Shubert Fellow, Henry Luce Fellow, TCG Leadership recipient. His works include: Beckett's Company (NPR and 6 cities); world premiere of Tennessee Williams' House Not Meant to Stand (Southern Repertory); Wedekind's Spring Awakening (Phila, New Orleans), Maeterlinck's Bluebird (Phila.), the world premiere of John Guare's 10-hour Lydie Breeze Trilogy. Savadove's staging of Chekhov's Seagull won the company the 2017 Barrymore award for Best Production. He holds an MFA in Directing from Columbia University and BA from Haverford College. Lane was a Professor of Acting and Directing at NYU's Tisch School of the Arts, The National University of Indonesia, and Head of Directing at Loyola-New Orleans. He is currently Head of Acting and Directing and Full Professor of Theater at Rowan University in New Jersey.Creating in Philadelphia: "It can be easy to accept the estimation that we're not a place that's bursting with deep thinkers because so many outsiders see us strictly as inhabitants of a blue collar city...and, of course, that's complete nonsense. It's been my experience that there's plenty of brain power generated on a daily basis, and I think that's particularly evident when you look at theater companies and what they're collectively trying to convey to us, namely, that it's perfectly acceptable to seek answers and apply your findings for the good of so many.” - Lane SavadoveEgo Po Classic Theater Season 2021-2022Awakenings and TransformationsAlice: not your child's wonderlandBased on Lewis Carroll's Alice's Adventures in WonderlandAdapted by Dane Eissler & Jenna KuerziDirected by Dane EisslerAt Glen Foerd, public park and museum, 5001 Grant AveSeason Launch Event: Tuesday, September 28thFringe Performances: Wednesday and Thursday, September 29th and 30thTickets and more info at www.egopo.org/aliceWine in the Wildernessby Alice ChildressDirected by Damien J. WallacePerforms Jan 19-30 at the Louis Bluver at the DrakeLife is a DreamBased on the play by Pedro Calderon de la BarcaCreated by Brenna Geffers & Felipe VergaraDirected by Brenna GeffersPerforms March 16-27 at Theatre ExileCurse of the Starving Classby Sam ShepardDirected by Lane SavadovePerforms June 15-26 at Drexel's URBN Center Annex Black Box~~~~~~~To explore past episodes of Into the Absurd, visit our Facebook page:https://www.facebook.com/pg/IdiopathicRidiculopathyConsortium/videos/ORThe IRC's YouTube channel: https://www.youtube.com/playlist...And while you're there, be sure to SUBSCRIBE, so you don't miss any future episodes.

Synopsis In 1906 the Russian composer Sergei Rachmaninoff had his heart set on turning the popular Belgian poet and playwright Maurice Maeterlinck's play “Monna Vanna” into an opera. Unfortunately, Rachmaninoff began work on “Monna Vanna” BEFORE he had secured the rights to do so. Rachmaninoff had already finished parts of a piano score for his opera when in 1907 he learned that Maeterlinck had granted the rights to another composer. Rachmaninoff was crushed with disappointment and stopped work on his opera, but years later when Rachmaninoff sat down at the piano to play for friends, he would sometimes include melodies from his abandoned project. One of those who heard him play those melodies was the much younger Russian conductor Igor Buketoff, who said he was too embarrassed at the time to ask the composer to identify the unfamiliar music. Decades later, Buketoff was startled to recognize those same tunes as he looked over Rachmaninoff's unfinished piano score for “Monna Vanna,” which had ended up at the Library of Congress. Buketoff orchestrated the surviving portions of Rachmaninoff's opera for their premiere performances, which occurred on today's date in 1984, at a summertime music festival in Saratoga Springs, New York. Music Played in Today's Program Sergei Rachmaninoff (1873 - 1943) arr. Igor Buketoff — Monna Vanna (soloists; Iceland Symphony; Igor Buketoff, cond.) Chandos 8987

"Aveugles ou comment se donner du courage pour agir ensemble. »du joli collectif » Spectacle original dans sa création et sa forme, ou le spectateur est témoin du travail des comédiens qui cherchent à faire l'expérience de ce qu'ils vont jouer. Texte inspiré de maurice Maeterlinck

In the final episode of the season, Keturah speaks with director, Crystal Manich, director and General Director of Opera Memphis, Ned Canty, and conductor, Joseph Mechavich, about three texts that move them in opera.  The conversation goes from the specific text to why sounds can be so moving, to how we approach text in our practice, and these three interviews sit beautifully as a trio in thought and structure.Texts discussed are Colautti’s Adriana LeCouvreur, Romani’s The Elixir of Love, and Maeterlinck’s Pelleas et Melisande.

Synopsis Today we have a tale of jealousy to tell — the tale of Claude and Mary and Maurice and Georgette—related to the premiere, on today’s date in 1902, of “Pelléas et Mélisande.” This new opera by Claude Debussy was based on a play about jealousy by the Belgian playwright Maurice Maeterlinck. Debussy had worked on his opera for years with no objection from Maeterlinck until late in 1901, when Debussy announced that the Scottish soprano Mary Garden would sing the role of Mélisande. Suddenly, two weeks before the premiere, Maeterlinck began saying the opera was “alien” to him, that he had lost artistic control over his own work, that he hoped the opera would flop. Well, that accounts for Claude and Mary and Maurice, but what about Georgette? Turns out SHE was the real reason behind Maeterlinck’s objections. Georgette was a soprano–and Maeterlinck’s mistress. When Debussy refused to even consider her for the lead role in his new opera, Maeterlinck’s smear campaign began. He was not alone—the eminent French composer Camille Saint-Saëns, jealous as any character in Debussy’s opera, delayed his customary vacation abroad to stay in Paris, and, as he put it, “To speak ill of Pelléas.” Music Played in Today's Program Claude Debussy (1862 - 1918) Pelléas et Mélisande Cleveland Orchestra; Erich Leinsdorf, cond. Cleveland 9375 On This Day Births 1870 - Hungarian-born Austrian composer Franz Léhar, in Komorn; 1939 - American composer Ellen Taaffe Zwilich, in Miami, Fla.; She was the first female composer to win the Pulitzer Prize for Music (in 1983 for her Symphony No. 1); Premieres 1728 - Handel: opera "Tolomeo, re d'Egitto" (Ptolomy, King of Egypt), in London at the King's Theater in the Haymarket (Gregorian date: May 11); 1855 - Berlioz: "Te Deum," at the church of St. Eustache in Paris; 1902 - Debussy: opera "Pelléas and Mélisande," in Paris at the Opéra-Comique; 1925 - Hindemith: "Kammermusik" No. 3, Op. 36, no. 2, in Bochum, Germany, conducted by the composer with Rudolf Hindemith the cello soloist; 1934 - Stravinsky: opera "Persephone," at the Paris Opéra, with Ida Rubinsetin in the principal role (spoken part) and the composer conducting; 1973 - Lou Harrison: Concerto for Organ, at San Jose State University, with organist Philip Simpson; 1991 - Ellen Taaffe Zwilich: Bass Trombone Concerto, by soloist Charles Vernon with the Chicago Symphony, Daniel Barenboim conducting; 1994 - John Harbison: String Quartet No. 3, at Brandeis University in Waltham, Mass., by the Lydian String Quartet; Others 1932 - Opening of the first "Yaddo" Festival of Contemporary Music at Saratoga Springs, N.Y. Links and Resources On Debussy On Debussy's "Pelléas et Mélisande"

Synopsis Today we have a tale of jealousy to tell — the tale of Claude and Mary and Maurice and Georgette—related to the premiere, on today’s date in 1902, of “Pelléas et Mélisande.” This new opera by Claude Debussy was based on a play about jealousy by the Belgian playwright Maurice Maeterlinck. Debussy had worked on his opera for years with no objection from Maeterlinck until late in 1901, when Debussy announced that the Scottish soprano Mary Garden would sing the role of Mélisande. Suddenly, two weeks before the premiere, Maeterlinck began saying the opera was “alien” to him, that he had lost artistic control over his own work, that he hoped the opera would flop. Well, that accounts for Claude and Mary and Maurice, but what about Georgette? Turns out SHE was the real reason behind Maeterlinck’s objections. Georgette was a soprano–and Maeterlinck’s mistress. When Debussy refused to even consider her for the lead role in his new opera, Maeterlinck’s smear campaign began. He was not alone—the eminent French composer Camille Saint-Saëns, jealous as any character in Debussy’s opera, delayed his customary vacation abroad to stay in Paris, and, as he put it, “To speak ill of Pelléas.” Music Played in Today's Program Claude Debussy (1862 - 1918) Pelléas et Mélisande Cleveland Orchestra; Erich Leinsdorf, cond. Cleveland 9375 On This Day Births 1870 - Hungarian-born Austrian composer Franz Léhar, in Komorn; 1939 - American composer Ellen Taaffe Zwilich, in Miami, Fla.; She was the first female composer to win the Pulitzer Prize for Music (in 1983 for her Symphony No. 1); Premieres 1728 - Handel: opera "Tolomeo, re d'Egitto" (Ptolomy, King of Egypt), in London at the King's Theater in the Haymarket (Gregorian date: May 11); 1855 - Berlioz: "Te Deum," at the church of St. Eustache in Paris; 1902 - Debussy: opera "Pelléas and Mélisande," in Paris at the Opéra-Comique; 1925 - Hindemith: "Kammermusik" No. 3, Op. 36, no. 2, in Bochum, Germany, conducted by the composer with Rudolf Hindemith the cello soloist; 1934 - Stravinsky: opera "Persephone," at the Paris Opéra, with Ida Rubinsetin in the principal role (spoken part) and the composer conducting; 1973 - Lou Harrison: Concerto for Organ, at San Jose State University, with organist Philip Simpson; 1991 - Ellen Taaffe Zwilich: Bass Trombone Concerto, by soloist Charles Vernon with the Chicago Symphony, Daniel Barenboim conducting; 1994 - John Harbison: String Quartet No. 3, at Brandeis University in Waltham, Mass., by the Lydian String Quartet; Others 1932 - Opening of the first "Yaddo" Festival of Contemporary Music at Saratoga Springs, N.Y. Links and Resources On Debussy On Debussy's "Pelléas et Mélisande"

In St. Petersburg, Russia, on today’s date in 1909, Alexandre Siloti conducted the first performance of a new orchestral work by a 26-year-old composer named Igor Stravinsky. The work was billed as “Scherzo fantastique,” but Stravinsky’s original title was “Bees.” Stravinsky had just completed his studies with the great Russian composer Nicolai Rimsky-Korsakov, whose “Flight of the Bumblebee” was already a famous musical depiction, so perhaps he wanted to impress his teacher – or try to outdo him. In 1907, Stravinsky wrote to Rimsky-Korsakov, “Just now [my wife] Katya and I have read Maeterlinck’s 'Life of the Bees', a partly artistic, partly philosophical book that pleased me, as they say, down to my toes.” Maeterlinck’s book offered an anthropomorphized description of the lifecycle of bees describing (quote) “the innumerable agitations of the honeycomb, the perpetual, enigmatic and crazy jiggling of the nurses on the brood chamber … the invading spirals of the queen, the various and incessant activities of the crowd … the comings and goings overwhelmed with ardor.” Stravinsky’s scoring includes three harps and multiple woodwinds, but omits timpani, trombones, and tuba, resulting in a light, nimble, and air-born orchestral sound for his busy bees.

In St. Petersburg, Russia, on today’s date in 1909, Alexandre Siloti conducted the first performance of a new orchestral work by a 26-year-old composer named Igor Stravinsky. The work was billed as “Scherzo fantastique,” but Stravinsky’s original title was “Bees.” Stravinsky had just completed his studies with the great Russian composer Nicolai Rimsky-Korsakov, whose “Flight of the Bumblebee” was already a famous musical depiction, so perhaps he wanted to impress his teacher – or try to outdo him. In 1907, Stravinsky wrote to Rimsky-Korsakov, “Just now [my wife] Katya and I have read Maeterlinck’s 'Life of the Bees', a partly artistic, partly philosophical book that pleased me, as they say, down to my toes.” Maeterlinck’s book offered an anthropomorphized description of the lifecycle of bees describing (quote) “the innumerable agitations of the honeycomb, the perpetual, enigmatic and crazy jiggling of the nurses on the brood chamber … the invading spirals of the queen, the various and incessant activities of the crowd … the comings and goings overwhelmed with ardor.” Stravinsky’s scoring includes three harps and multiple woodwinds, but omits timpani, trombones, and tuba, resulting in a light, nimble, and air-born orchestral sound for his busy bees.

Musica e Tradizione, Musica e Alchimia, Musica e società segrete… Ciò che pertiene il rapporto fra l'arte dei suoni e le differenti forme di Arte Reale è da sempre oggetto di particolare attenzioni, fin dai tempi in cui l'uomo intuì l'origine sonora del Cosmo. A che punto siamo con queste indagini? Nella bibliografia attualmente disponibile sull'argomento, oltre alle fondamenta profonde e solide già da tempo tracciate, è possibile cominciare a scorgere anche un punto d'arrivo? Ne parliamo giovedì 4 febbraio alle 14 in diretta Facebook con Alessandro Nardin, autore di "Debussy l'esoterista", "Giuseppe Sammartini e il concerto per organo nella Londra musicale e massonica" e "Pelleas et Mélisande tra Maeterlinck e Debussy. Il simbolo oltre il simbolismo". Ti invito ad iscriverti al canale Spotify per rimanere sempre aggiornato.

"Pelléas en Mélisande" is een toneelstuk van de in het Frans schrijvende Vlaamse auteur Maurice Maeterlinck, die in 1911 vereerd werd met de Nobelprijs Literatuur. Het symbolistisch sprookje speelt in een vaag middeleeuwse wereld, een Vlaanderen dat we ook kennen uit de sagen en legenden. Of beter: een mythisch & mysterieus België, want het verhaal van de bron waar Mélisande door Golaud wordt aangetroffen, herinnert toch wel heel sterk aan de legendarische geschiedenis van Orval. Het toneelstuk is misschien vooral bekend door de operabewerking van Debussy, en vertelt hoe prins Golaud zich ontfermt over Mélisande en met haar huwt... Maar tussen Mélisande en zijn halfbroer Pelléas bloeit al gauw een fatale genegenheid op, een dodelijke zielsverwantschap… Patrick Bernauw vertaalde het toneelstuk en herwerkte het naar proza, het verscheen dan ook in boekvorm (paperback) en als ebook. Vervolgens maakte hij een versie voor verteltheater en voor dit luisterboek, die hij zelf inspeelde. Antoine Derksen verzorgde de montage en de geluidsregie. Fernand Bernauw, broer van, leverde de muziek, die we ook terugvinden op naami.bandcamp.com onder de titels "Eutopia" en "Celtic Spirit". Dit luisterboek is een productie van de podcast Mysterieus België, waar je ook het eerste deel kunt beluisteren. Het volledige luisterboek is verkrijgbaar bij o.a. Bol.com, Luisterrijk, Storytel en Audio Theater. (9,99€, met leuke bonus track). Alle info: https://www.bernauw.com/2021/02/pelleas-en-melisande-maurice.html

Lane Savadove is the Founding Artistic Director of EgoPo Classic Theater, now in its 27th season.Lane has directed over 40 shows for EgoPo, Off-Broadway, regionally in San Francisco, Chicago, New Orleans, Provincetown, Philadelphia and on National Public Radio. He was the resident director of the National Cultural Center of Indonesia (1996-7), Artistic Director of Jean Cocteau Repertory (2004-5), and Associate Artistic Director of the Living Theater (1989-90).An Independence Foundation Fellow, Drama League Directing Fellow, Shubert Fellow, Henry Luce Fellow, TCG Leadership recipient. His works include: Beckett’s Company (NPR and 6 cities); world premiere of Tennessee Williams’ House Not Meant to Stand (Southern Repertory); Wedekind’s Spring Awakening (Phila, New Orleans), Maeterlinck’s Bluebird (Phila.), the world premiere of John Guare’s 10-hour Lydie Breeze Trilogy. Savadove's staging of Chekhov’s Seagull won the company the 2017 Barrymore award for Best Production. Lane holds an MFA in Directing from Columbia University and BA from Haverford College. Lane was a Professor of Acting and Directing at NYU’s Tisch School of the Arts, The National University of Indonesia, and Head of Directing at Loyola-New Orleans. He is currently Head of Acting and Directing and Full Professor of Theater at Rowan University in New Jersey.

Steve takes the lead opening our investigation of the visual novel form. See the course page for more resources. We invite you to join us for future discussions. Music this time comes from two productions of Maeterlinck's Blue Bird, the first a clip of incidental music from the 1909 Theatre Royal run (performed by Fiona Cox and recorded in 2006), the second from a 1980 anime.

I sina tarmar bär termiterna nyckeln till en bättre framtid på jorden. Men består ett termitsamhälle av individer eller är det snarare en stor hjärna? undrar biologen och författaren Fredrik Sjöberg. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad den 4 april 2019. Stöld av ord och idéer sägs vara ett stort bekymmer nuförtiden. Inget är ju enklare än att klippa och klistra i texter som är digitala. Det är säkert sant; problemet är i alla händelser inte nytt. Exempelvis var nobelpristagaren i litteratur, belgaren Maurice Maeterlinck, en ful fisk. Hans berömda bok Termiternas liv, utgiven på svenska 1926, visade sig vara annans egendom. Hela storyn var stulen från Eugène Marais, en obemärkt poet från Sydafrika. Marais, som hade ägnat sitt liv åt att studera och skriva om termiternas underjordiska samhällen, arbetade periodvis även som jurist, varför det föll sig naturligt att väcka åtal mot Maeterlinck. Plagiatet var verkligen flagrant. Men det gick inget vidare. Brott mot upphovsrätten har alltid varit besvärliga; det hela rann ut i sanden varefter Marais, som även var morfinist, avslutade sin plåga på samma sätt som senare Ernest Hemingway. Med hagelbössa. Otack är väldens lön. Lyckligtvis har eftervärlden givit honom rätt, och en av dem som skyndar till hans försvar är den amerikanska författaren Lisa Margonelli. Hon bygger som ett äreminne över honom i boken Underbug vars lockande undertitel An Obsessive Tale of Termites and Technology antyder att här ska det bli åka av. Det blir det också. Efteråt är man alldeles matt.Profant och religiöst. Den biotekniker som på syntetisk väg lyckas kopiera den processen kan förändra världen. Så låt oss tala om termiter. Små, charmlösa insekter i stora, komplicerade samhällen. Lisa Margonelli, som tidigare har skrivit om oljeberoendets historia, halkade in på detta nya spår via den lovande forskningsgren som sysslar med syntetisk biologi. Den dag man lyckas räkna ut hur det går till när termiter i sin matsmältningsapparat bryter ner cellulosa, kan man i princip framställa oändliga mängder energirikt bränsle som sedan kan ersätta oljan utan att vi måste ändra våra levnadsvanor. Där börjar det. Boken Underbug handlar emellertid, som en kritiker skrev, om termiter ungefär på samma sätt som Bibeln handlar om gubbar med skägg: bara delvis. Själva poängen är mer avancerad än så. Termiter finns nästan överallt i tropikerna och därikring. Hittills har man funnit fler än 3 000 olika arter och en del av dem bygger enorma stackar, som till skillnad från vanliga myrstackar oftast består av tätt packad jord, byggnader som kan bli över åtta meter höga. Till historien hör även att Jordens alla termiter tillsammans antas väga tio gånger mer än planetens alla människor. Deras inverkan på ekosystemen är inte oväntat stor. Termiterna, som är närmare släkt med kackerlackorna än myrorna, lever i komplexa kastsystem och livnär sig ofta på svamp som de odlar själva i hålor under marken. De kan alltså även, likt många andra insekter, tillgodogöra sig cellulosa från gräs och trä, en omvandling av energi vars effektivitet har att göra med de bakterier som lever i kräkens tarmar. Den biotekniker som på syntetisk väg lyckas kopiera den processen kan förändra världen. Problemet är bara att i denna knappt synliga tarmsnutt lever i runda slängar 500 olika arter bakterier och andra mikroorganismer som dessutom samarbetar på ett för vetenskapen obegripligt sätt. Vi kan kartlägga deras gener, till och med räkna ut vilka proteiner dessa gener bidrar till att bygga, men allt är ändå ett mysterium. De symbiotiska relationerna har utvecklats under miljontals år; komplexiteten är liksom ogenomtränglig. Än så länge. Forskning pågår. Margonelli reser mycket; hon besöker fältstationer i Arizonas halvöknar, i Namibia och Australien, och träffar en hel rad hyperintelligenta forskare som rekryteras till amerikanska elituniversitet från världens alla hörn. Genetiker och matematiker, ekologer, datorutvecklare, alla möjliga. Efter hand blir det uppenbart att forskarna och termiterna har mycket gemensamt. Samarbetet och symbiosen. Ett slags kollektiv intelligens. Grundfrågan är bedrägligt enkel. Vad är liv? Är det generna? Eller är det kanske processerna, själva metabolismen? Är de enskilda termiterna meningsfulla enheter i sammanhanget? Eller bör vi uppfatta hela termitstacken med alla dess invånare som en superorganism? Det finns inga självklara svar. Frågan om termiterna odlar svamp, eller om svamparna odlar termiter, leder ingen vart, mer än möjligen till skenbart vrickade idéer om termitstacken som en hjärna, och alla småkrypen som nervceller. Det mänskliga medvetandets biologi är ju också en ganska svårbegriplig historia. Haken är just att vi ännu inte förstår biologi på samma sätt som fysik och kemi. På ett par ställen i boken liknas forskningsläget vid Samuel Becketts pjäs I väntan på Godot; som om alla dessa teoretiker i gränslandet mellan teknik och biologi bara går och väntar på att någon ska räkna ut och bevisa de komplexa biologiska systemens grundläggande algoritmer. Inom fysiken upptäckte man redan för 200 år sedan termodynamikens grunder, som senare ledde till en kunskapsexplosion inom fysiken, vilken i sin tur gav uppfinningar av allt möjligt, från kärnvapen till mobiltelefoner. Biologin har helt enkelt inte kommit lika långt. Den dagen då vi verkligen förstår hur de symbiotiska relationerna uppkommer och fungerar, och när vi lyckas utveckla teoretiska modeller som gör att vi kan kopiera dem, då öppnar sig oanade möjligheter. Därför bör ingen bli förvånad över att mycket av den här forskningen finansieras av den amerikanska militären. Särskilt stort intresse visar man för den forskning, både om termiter och andra sociala insekter, som handlar om så kallad svärmintelligens. Det autonoma samarbetet. Det militärindustriella komplexets våta dröm är bestyckade drönare, små som bin eller getingar, som kan angripa fienden i stora, autonoma svärmar; tusentals flygande robotar med ett slags kollektiv, artificiell intelligens. Och jag vet, det låter som science fiction. Redan Ernst Jünger var inne på samma spår i en av sina romaner, men faktum är att så kallade robotbin redan finns. Själva hårdvaran utvecklas mycket fort. Haken är just att vi ännu inte förstår biologi på samma sätt som fysik och kemi. Kanske, skriver Lisa Margonelli, kan den döde poeten Eugène Marais bidra med avgörande pusselbitar han som talade om termiternas själ. Visserligen bara som en metafor, men ändå. Resten är skräckvisioner, obligatoriska numera i böcker om insekter. På sista sidan i Underbug talas om en ryktbar studie från Tyskland, som i händerna på okunniga journalister säger att alla insekter håller på att dö ut. Medier över hela världen larmar om det just nu. Publiken älskar budskapet. Jag hittade på ett uttryck för det där en gång, efter ett annat utbrott av denna ständigt lika bekväma skräck för kommande katastrofer. Att lösa problemen går, men är mycket jobbigare. Apokalypsens ombonade mörker. Det var så jag skrev, och jag tycker att orden står sig än i dag. Fantasier om undergången kan verkligen vara vilsamma, ungefär som självömkan och bitterhet vilket för övrigt påminner mig om att min formulering långt senare blev stulen. En yngre författare gjorde den till sin. Plagiatet var inte ett av de grövre, men lika fullt en stöld, åtminstone snatteri. Otack är världens lön. Fredrik Sjöberg, författare och biolog

From the gouging out of eyes in Shakespeare's King Lear or Sarah Kane's Cleansed, to the adaptation of Philip Pullman's His Dark Materials trilogy, theatre has long been intrigued by the staging of challenging plays and impossible texts, images or ideas. Performing the Unstageable: Success, Imagination, Failure (Methuen Drama) examines this phenomenon of what the theatre cannot do or has not been able to do at various points in its history. The book explores four principal areas to which unstageability most frequently pertains: stage directions, adaptations, violence and ghosts. Karen Quigley incorporates a wide range of case studies of both historical and contemporary theatrical productions including the Wooster Group's exploration of Hamlet via the structural frame of John Gielgud's 1964 filmed production, Elevator Repair Service's eight-hour staging of Fitzgerald's The Great Gatsby and a selection of impossible stage directions drawn from works by such playwrights as Eugene O'Neill, Philip Glass, Caryl Churchill, Sarah Kane and Alistair McDowall. Placing theatre history and performance analysis in such a context, Performing the Unstageable values what is not possible, and investigates the tricky underside of theatre's most fundamental function to bring things to the place of showing: the stage. Karen Quigley is Lecturer in theatre at the University of York, UK. Her previous publications include contributions to European Drama and Performance Studies, Journal of Contemporary Drama in English, Radical Contemporary Theatre Practices by Women in Ireland and Performance Research. Originally from the North Shore in Massachusetts, Toney Brown is a theater director/performer in New York City. He studied Theater Arts at the University of Massachusetts, Amherst. In NYC, was a Performance Project Fellow at the University Settlement and adapted Harmony Korine’s A Crack Up at the Race Riots at Theater for a New City’s Dream Up Festival. In addition, he was worked extensively with the director Dennis Yueh-yeh Li adapting King Lear, assistant directed Maeterlinck’s The Blind, and performing in his production of Albert Camus’ Caligula (Chaerea) as part of the New Ohio Theater’s Producers Club Festival. When he is not podcasting on NBN, he hosts NYTF Radio, a podcast exploring the history of Yiddish Theatre for the National Yiddish Theatre Folksbiene, available on all platforms. He is an enthusiastic cinephile and avid Red Sox fan. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the gouging out of eyes in Shakespeare's King Lear or Sarah Kane's Cleansed, to the adaptation of Philip Pullman's His Dark Materials trilogy, theatre has long been intrigued by the staging of challenging plays and impossible texts, images or ideas. Performing the Unstageable: Success, Imagination, Failure (Methuen Drama) examines this phenomenon of what the theatre cannot do or has not been able to do at various points in its history. The book explores four principal areas to which unstageability most frequently pertains: stage directions, adaptations, violence and ghosts. Karen Quigley incorporates a wide range of case studies of both historical and contemporary theatrical productions including the Wooster Group's exploration of Hamlet via the structural frame of John Gielgud's 1964 filmed production, Elevator Repair Service's eight-hour staging of Fitzgerald's The Great Gatsby and a selection of impossible stage directions drawn from works by such playwrights as Eugene O'Neill, Philip Glass, Caryl Churchill, Sarah Kane and Alistair McDowall. Placing theatre history and performance analysis in such a context, Performing the Unstageable values what is not possible, and investigates the tricky underside of theatre's most fundamental function to bring things to the place of showing: the stage. Karen Quigley is Lecturer in theatre at the University of York, UK. Her previous publications include contributions to European Drama and Performance Studies, Journal of Contemporary Drama in English, Radical Contemporary Theatre Practices by Women in Ireland and Performance Research. Originally from the North Shore in Massachusetts, Toney Brown is a theater director/performer in New York City. He studied Theater Arts at the University of Massachusetts, Amherst. In NYC, was a Performance Project Fellow at the University Settlement and adapted Harmony Korine’s A Crack Up at the Race Riots at Theater for a New City’s Dream Up Festival. In addition, he was worked extensively with the director Dennis Yueh-yeh Li adapting King Lear, assistant directed Maeterlinck’s The Blind, and performing in his production of Albert Camus’ Caligula (Chaerea) as part of the New Ohio Theater’s Producers Club Festival. When he is not podcasting on NBN, he hosts NYTF Radio, a podcast exploring the history of Yiddish Theatre for the National Yiddish Theatre Folksbiene, available on all platforms. He is an enthusiastic cinephile and avid Red Sox fan. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tišina ni zgolj odsotnost hrupa. Nanjo smo že skoraj pozabili. V času informacijske nsičenosti je postala redka dobrina. In težko jo je najti, kar nas ovira pri tem, da bi slišali notranji govor, ki nas pomirja. Kot, da nam družba prav zapoveduje, naj se uklonimo hrupu, da bi postali del vsega, namesto da bi prisluhnili sebi. Zgodovina tišine, od renesanse do danes, ki jo je napisal Alain Corbin - ugledni francoski zgodovinar, specializiran za mikrozgodovino, ki je tudi zaslužni profesor na pariški univerzi Pantheon-Sorbonne pa tudi eden najbolj prevajanih francoskih zgodovinarjev (ta knjiga je njegova prva prevedena v slovenski jezik) - je tako knjiga, ki nam poskuša bolj kot razložiti- dati možnost občutiti in doživeti tišino s pomočjo citatov mnogih piscev (Rilke, Thoreau, Maeterlinck, Hugo, Lorca, Claudel, de Foucauld, etc.), da si jo prikliočemo nazaj v svoje življenje in da lahko s silovitostjo svojega govora spet smo lahko, kar smo. Še bolj resnično. Knjiga je izšla pri založbi V.B.Z. Ljubljana, uredil Robert Bobnič, iz francoščine pa jo je prevedla Jedrt Lapuh Maležič, ki bo tokratna gostja Sobotnega branja. Odlomke iz knjige bo interpretiral napovedovalec Matej Rus. Oddajo pripravlja in vodi Liana Buršič

Que reste-t-il de Maeterlinck?

Playwright, actor, and director Charles Ludlam (1943-87) helped to galvanize the Ridiculous style of theater in New York City starting in the 1960s. Decades after his death, his place in the chronicle of the American theater has remained constant, but his influence has changed. Although his Ridiculous Theatrical Company shut its doors, the Ludlamesque Ridiculous has continued to thrive and remain a groundbreaking genre, maintaining its relevance and potency by metamorphosing along with changes in the LGBTQ community. Author Sean F. Edgecomb focuses on the Neo-Ridiculous artists Charles Busch, Bradford Louryk, and Taylor Mace to trace the connections between Ludlam’s legacy and their performances. Using alternative queer models such as kinetic kinship, lateral historiography, and a new approach to camp, Charles Ludlam Lives!: Charles Busch, Bradford Louryk, Taylor Mac and the Queer Legacy of the Ridiculous Theatrical Company (University of Michigan Press, 2017) demonstrates that the queer legacy of Ludlam is one of distinct transformation— one where artists can reject faithful interpretations in order to move in new interpretive directions. Originally from the North Shore in Massachusetts, Toney Brown is a theater director/performer in New York City. He studied Theater Arts at the University of Massachusetts, Amherst. In NYC, was a Performance Project Fellow at the University Settlement and adapted Harmony Korine’s A Crack Up at the Race Riots at Theater for a New City’s Dream Up Festival. In addition, he was worked extensively with the director Dennis Yueh-yeh Li adapting King Lear, assistant directed Maeterlinck’s The Blind, and performing in his production of Albert Camus’ Caligula (Chaerea) as part of the New Ohio Theater’s Producers Club Festival. When he is not podcasting on NBN, he hosts NYTF Radio, a podcast exploring the history of Yiddish Theatre for the National Yiddish Theatre Folksbiene, available on all platforms. He is an enthusiastic cinephile and avid Red Sox fan.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Can care be enacted through art? Inside a cathedral, staff members from a nursing home work with an artist to perform a poetic text about caregiving, loss, and taking the time to feel one's feelings. In the months leading up to the performance, the artist navigates her twenties—and art and life converge in unexpected ways. In Stages: On Dying, Working, and Feeling (Thick Press, 2020), Rachel Kauder Nalebuff has created a stirring work of hybrid nonfiction that takes us behind the scenes of artmaking and caregiving. Melding curiosity, humility, playfulness, and self-deprecation, Stages is an inquiry into the work it takes to sustain a meaningful life. Rachel Kauder Nalebuff is a writer working often in the realms of performance and oral history. She is editor of My Little Red Book (Hachette, 2009), a collection of people's first period stories, and co-editor of The Feminist Utopia Project (Feminist Press, 2015) with Alexandra Brodsky. She runs a mentor program for seniors with Caitlin Ryan O'Connell and many friends throughout the New York City Department of Aging. Originally from the North Shore in Massachusetts, Toney Brown is a theater director/performer in New York City. He studied Theater Arts at the University of Massachusetts, Amherst. In NYC, was a Performance Project Fellow at the University Settlement and adapted Harmony Korine's A Crack Up at the Race Riots at Theater for a New City's Dream Up Festival. In addition, he was worked extensively with the director Dennis Yueh-yeh Li adapting King Lear, assistant directed Maeterlinck's The Blind, and performing in his production of Albert Camus' Caligula (Chaerea) as part of the New Ohio Theater's Producers Club Festival. When he is not podcasting on NBN, he hosts NYTF Radio, a podcast exploring the history of Yiddish Theatre for the National Yiddish Theatre Folksbiene, available on all platforms. He is an enthusiastic cinephile and avid Red Sox fan. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Can care be enacted through art? Inside a cathedral, staff members from a nursing home work with an artist to perform a poetic text about caregiving, loss, and taking the time to feel one’s feelings. In the months leading up to the performance, the artist navigates her twenties—and art and life converge in unexpected ways. In Stages: On Dying, Working, and Feeling (Thick Press, 2020), Rachel Kauder Nalebuff has created a stirring work of hybrid nonfiction that takes us behind the scenes of artmaking and caregiving. Melding curiosity, humility, playfulness, and self-deprecation, Stages is an inquiry into the work it takes to sustain a meaningful life. Rachel Kauder Nalebuff is a writer working often in the realms of performance and oral history. She is editor of My Little Red Book (Hachette, 2009), a collection of people’s first period stories, and co-editor of The Feminist Utopia Project (Feminist Press, 2015) with Alexandra Brodsky. She runs a mentor program for seniors with Caitlin Ryan O’Connell and many friends throughout the New York City Department of Aging. Originally from the North Shore in Massachusetts, Toney Brown is a theater director/performer in New York City. He studied Theater Arts at the University of Massachusetts, Amherst. In NYC, was a Performance Project Fellow at the University Settlement and adapted Harmony Korine's A Crack Up at the Race Riots at Theater for a New City's Dream Up Festival. In addition, he was worked extensively with the director Dennis Yueh-yeh Li adapting King Lear, assistant directed Maeterlinck's The Blind, and performing in his production of Albert Camus' Caligula (Chaerea) as part of the New Ohio Theater's Producers Club Festival. When he is not podcasting on NBN, he hosts NYTF Radio, a podcast exploring the history of Yiddish Theatre for the National Yiddish Theatre Folksbiene, available on all platforms. He is an enthusiastic cinephile and avid Red Sox fan. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:26:56 - La Grande table culture - par : Olivia Gesbert - À l’occasion de sa mise en scène de "Pelleas et Mélisande" de Maurice Maeterlinck aux Ateliers Berthier/Théâtre de l’Odéon du 25 février au 21 mars, Julie Duclos est notre invitée. L'occasion de revenir sur cette adaptation, l'écriture de Maeterlinck et le travail de mise en scène. - réalisation : Eric Lancien, Gilles Blanchard - invités : Julie Duclos Metteuse en scène

durée : 00:26:56 - La Grande table culture - par : Olivia Gesbert - À l’occasion de sa mise en scène de "Pelleas et Mélisande" de Maurice Maeterlinck aux Ateliers Berthier/Théâtre de l’Odéon du 25 février au 21 mars, Julie Duclos est notre invitée. L'occasion de revenir sur cette adaptation, l'écriture de Maeterlinck et le travail de mise en scène. - réalisation : Eric Lancien, Gilles Blanchard - invités : Julie Duclos Metteuse en scène

durée : 00:25:04 - Rachmaninov, Symphonie n°2 - par : Anne-Charlotte Rémond - En arrivant à Dresde, où il s'installe avec son épouse Natacha et leur petite fille Irina, Rachmaninov a trois projets de composition : une sonate pour piano inspirée du Faust de Goethe, un opéra d'après Maeterlinck, « Monna Vanna », et une deuxième symphonie... - réalisé par : Philippe Petit

Belgian author, Maurice Maeterlinck, wrote essay collection, "Old Fashioned Flowers" in 1905. Maeterlinck, who lived from 1862-1949, was awarded the Nobel Prize for literature in 1911. This book is an ode to flowers and springtimeSupport the show (https://www.patreon.com/snoozecast)

Fotograaf Nicolas Maeterlinck bezocht alle nog bestaande woonhuizen van de Nobelprijswinnaar Maurice Maeterlinck, van Rijvissche in Zwijnaarde tot Orlamonde in Nice. Hij toont foto's van zijn tocht 'in de voetsporen van Maurice Maeterlinck'. Lezing op zondag 15 april 2012 in de Erfgoedbibliotheek Hendrik Conscience. Meer over de Erfgoedbibliotheek Hendrik Conscience? Website – www.consciencebibliotheek.be Facebook – www.facebook.com/consciencebibliotheek Twitter – www.twitter.com/ehcantwerp

Toen de Eerste Wereldoorlog uitbrak, werden België en Rusland feitelijke bondgenoten. Onder invloed van de Belgische literatuur – De Coster, Verhaeren en Maeterlinck – dichtte de Russische oorlogspropaganda het klein land de meest onwaarschijnlijke heldendaden toe. De enige Rus die de Belgische realiteit kende, was Andrej Prezjbjano, de Russische verbindingsofficier bij koning Albert. Vier jaar lang was hij getuige van het wel en wee van het Belgische leger en zette zich in voor de Belgisch-Russische militaire samenwerking: hij stelde voor om een Belgisch expeditiekorps naar Rusland te sturen en Russische soldaten aan de IJzer in te zetten; na 1917 smeedde hij met de Belgische legerleiding plannen voor een interventie in Rood Rusland. Tot op vandaag bepalen de feiten en verzinsels van de Eerste Wereldoorlog de relaties tussen België en Rusland. Prof. Wim Coudenys (°1966) doceert Russische en Europese (cultuur)geschiedenis aan de KU Leuven, campus Antwerpen. Hij publiceerde uitgebreid over Russisch-Belgische relaties, de Russische emigratie ('Leven voor de tsaar', 2004) en Russische geschiedschrijving ('Het geheugen van Rusland', 2014). Zijn recentste boek, 'Voor Vorst, voor Vrijheid en voor Recht' (2017), vertelt het verhaal van de Belgisch-Russische relaties tijdens de Eerste Wereldoorlog en de rol van Andrej Prezjbjano daarin. Lezing op zondag 17 december 2017 in de Erfgoedbibliotheek Hendrik Conscience. Meer over de Erfgoedbibliotheek Hendrik Conscience? Website – www.consciencebibliotheek.be Facebook – www.facebook.com/consciencebibliotheek Twitter – www.twitter.com/ehcantwerp

Pelléas et Mélisande. Het is de enige opera die Claude Debussy schreef, maar hij was dan ook perfect. Tien jaar lang heeft hij eraan geschreven en gevijld. Het succes was overdonderend, een keerpunt was het in het leven van Debussy. En toch… Er hangt een schaduw over dit succesverhaal. Het libretto haalde Debussy bij Maurice Maeterlinck, de grote symbolistische schrijver, de enige Nobelprijswinnaar literatuur die België ooit had. Maar wat een langdurige vriendschap en samenwerking had kunnen opleveren, ontaardde in een bitse strijd. Het kwam zelfs bijna tot een duel. Maeterlinck is nooit naar één voorstelling van Pelléas et Mélisande geweest, iets wat hij na de dood van Debussy posthuum goedmaakte…

This week's episode of the Random history of #Belgium explores the life and work of the writer, playwright and poet: Maurice #Maeterlinck , master of symbolism and friend of honeybees. 

In this episode we talk to José Halloy who is researcher at the Unit of Social Ecology at the Université Libre de Bruxelles. He presents the work done in the scope of the LEURRE project on the self-organization of hybrid groups of animals and artificial artifacts. Recently presented in one of the most renowned journals "Science", Halloy describes how insect-like robots can influence a group of cockroaches into collectively selecting a light shelter instead of the dark one they usually crave. A splash of perfume and a good behavioral model is what it takes to interact with what Maeterlinck called the "mind of the hive" or in this case, the collective intelligence of the cockroach society.