Podcast appearances and mentions of Mark Ravenhill

Samira Ahmed and writers Dreda Mitchell and Mark Ravenhill review Imelda Staunton and her daughter, Bessie Carter, in Mrs Warren's Profession.They consider, too, theatre director Marianne Elliott's first foray into film, The Salt Path, based on a Raynor Winn's bestselling memoir of how she and her husband, after they have lost their house and farm and he has been diagnosed with a rare terminal disease, walk the 600 miles of the South West Coast Path. It features Gillian Anderson and Jason Isaacs - with and the land and seascape of the end of England in a starring role. The Victoria and Albert Museum has a collection of 4.5 million artefacts. Inevitably, many are stored away. But now the museum is inviting everyone backstage, to the V&A East Storehouse, where half a million objects are looked after. It is a wonderful gallimaufry, ancient ceramics next to plastic chairs from the sixties, a huge Picasso, a Frank Lloyd Wright office and a child's pedal car. Samira, Freda and Mark wander the gantries.Presenter: Samira Ahmed Producer: Julian May

We look back at the quarter century in performing arts, exploring the changes in live stage performance and asking how the theatrical landscape has changed over those years. Samira Ahmed hears about some of the big trends that have changed the experience - such as immersive theatre and discusses the challenges the sector has faced. She is joined by playwrights Mark Ravenhill and Lolita Chakrabarti, who is also an actor, by the producer and CEO of Nimax Theatres, Nica Burns and by the critic Sarah Crompton. Plus we hear from Felix Barrett, founder of Punchdrunk Theatre and Nikolai Foster the artistic director of the Leicester Curve.Presenter: Samira Ahmed Producer: Ruth Watts

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for his audio described theatre review of the year plus a couple of highlights of shows he is looking forward to seeing in 2025.  Audio described theatre highlights of 2024 included - The reimagining for the stage at the RSC of Mark Ravenhill's 2013 radio play' Ben and Imo', which told the true story of the passionate partnership between Benjamin Britten and Imogen Holst. The touring production of the Lawrence Olivier award winning comedy musical retelling of Jane Austen's ‘Pride and Prejudice (Sort Of)' with only a cast of five women on stage playing all the characters of Pride and Prejudice.  Welsh National Opera's production of Verdi's Rigoletto at the Wales Millennium Centre in Cardiff which had a bit of a Jacobean feel to the costumes and maybe some influences of Shakespeare coming through too. At the Birmingham Repertory Theatre and a musical that is all about first love and finding your voice with ‘Becoming Nancy' based on the novel of the same name by author songwriter, music producer and singer Terry Ronald. Staying with Musicals at the Birmingham Hippodrome with Lin-Manuel Miranda's multi award-winning cultural phenomenon that is Hamilton.  Vidar also mentions a few highlights of shows that he is looking forward to seeing in 2025 too.  (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Tom Sutcliffe is joined by Naomi Alderman and Mark Ravenhill to review a new production of The Importance of Being Earnest at the National Theatre, starring the current Doctor Who Ncuti Gatwa, W1A's Hugh Skinner and Sharon D Clarke. Plus comedy horror Rumours starring Cate Blanchett, and Grand Theft Hamlet – a documentary film which was shot inside the GTA game during the 2021 lockdown. Presenter: Tom Sutcliffe Producer: Claire Bartleet

Como nosotros vamos en dirección contraria a lo que está de moda vamos a hablar ahora, una vez acabadas las olimpiadas de París 2024, sobre la simbología que ha encerrado este evento que curiosamente ha sido la Olimpiada moderna numero 33 y ha terminado en la semana 33 del año. Para ello vamos a utilizar nuestro propio conocimiento y algunos textos de otros autores y algún hilo interesante como el de “aguatico de pescaico” titulado “Descifremos: la fiesta egipcia de París” publicado en burbuja punto info. A primera vista resultó un espectáculo patético, sátiras de la última cena, referencias a los jinetes del apocalipsis, satanismo, quemar pianos, ideología de género, deconstrucción de toda referencia histórica o tradicional, deconstrucción de la belleza, del orden, de lo tradicional… etcétera. ¿Pero que hay mas allá? De lo que tratan siempre los juegos olímpicos en esencia es de lo luciferino, no es un acto de nobleza humana o deportiva, sino que está organizado por las élites psicopatocraticas que detentan el poder-religión para mostrarnos el camino que tomará la humanidad bajo su liderazgo y regenerar su poder en un ritual multitudinario. Mucho antes de la celebración de las Olimpiadas en Grecia se celebraba en Egipto el Heb Sed o Fiesta de renovación real. Cada 4 o 5 años se hacía en Egipto la FIESTA DE LA RENOVACION para regenerar la fuerza física y la energía sobrenatural del faraón. Allí sé hacia un ritual muy parecido a lo que veremos en la ceremonia inaugural de unos juegos olímpicos. Un desfile o procesión donde egipcios de todas las regiones del país aparecían ante el rey. El rey cambiaba su indumentaria para realizar la carrera ritual. Al final terminaba erigiendo un pilar ceremonial y disparando flechas en dirección a los cuatro puntos cardinales para proteger y mantener alejados a los enemigos. Veremos como en esta ceremonia de inauguración se hace referencia a tradiciones egipcias, griegas y en general de la mitología antigua. También se hace burla al culto cristiano y sus símbolos, la cruz o el propio Jesucristo. (0003) Hubo un evento previo el viernes 26 de julio mediante un ataque coordinado contra la red de trenes de alta velocidad cerca de París que se ejecutó en forma de cruz. La inauguración de los JJOO duró casi cuatro horas en 12 partes un prólogo, diez actos y un epílogo. Aquí es clara la intencionalidad de referirse a los 12 apóstoles y también a utilizar el 10 que es considerado divino. ¿Y quién ha sido el director artístico de las ceremonias de apertura y clausura de los Juegos Olímpicos de Verano de 2024 en París? Pues ha sido elegido Thomas Jolly fundador de La Piccola Familia en 2006. Luego fue elegido por el gobierno francés para dirigir el centro dramático nacional Le Quai d'Angers desde el 1 de enero de 2020 hasta noviembre de 2022. El propio gobierno francés define así dichos centros de creación teatral: “Los centros dramáticos nacionales (CDN) son establecimientos emblemáticos de la política de descentralización dramática dirigida por el Estado desde hace setenta años (los primeros cinco centros fueron creados entre 1946 y 1952). Estructuras de creación y producción dirigidas por uno o varios artistas comprometidos en el campo teatral, las CDN constituyen herramientas principales y estructurantes para el diseño, la fabricación y la producción de obras teatrales, con un espíritu de apertura y de compartir. Las CDN son lugares donde pueden encontrarse y articularse todas las dimensiones del teatro: la investigación, la escritura, la creación, la difusión, la formación. Para cada CDN, se celebra un contrato de descentralización dramática entre el Ministro de Cultura y el director de la estructura certificada, por la que se definen los compromisos de cada Parte para la ejecución de las misiones de creación teatral de interés general en el marco de los objetivos definidos en el pliego de condiciones y en las especificaciones del sello CDN.” O sea, el gobierno decide cuál será el teatro que verán las personas amantes de este arte. Obviamente un gobierno “progre” y preocupado en inculcar ideas progres da como resultado lo que vivimos actualmente. El propio creador nos cuenta en una entrevista en Vogue: “Los Juegos Olímpicos, en su leyenda fundacional, son curativos”, dice Jolly, aludiendo al momento político en el que nos encontramos. “Curan la peste y traen la paz”. ¿Y cuál es el significado del Sena? “Para empezar, el Sena era una diosa”, dice Jolly, “una ninfa llamada Sequana, que se convirtió en río para poder escapar de Neptuno. Así que el Sena es una mujer que resiste a un hombre violento. Es un símbolo muy grande, y lo voy a utilizar porque convierte al río en una fuerza femenina de resistencia”. Lo que Jolly pretende demostrar es que en París hay “lugar para todos. Puede que sea un poco caótico, es cierto, pero eso permite que cada uno encuentre su lugar”. La ceremonia de inauguración será un éxito, afirma Jolly, “si todo el mundo se siente representado en ella”. Jolly “fue el autor de una ópera gay en la figura del emperador Heliogábalo. Ha reinterpretado a Marivaux y a Shakespeare para convertirlos en obras del contemporáneo Mark Ravenhill, autor de obras como la titulada: Ir de compras y follar, en contra del capitalismo y a favor del marxismo, del sadismo, para representar la prostitución, la drogadicción en un entorno de homosexualidad”. Han intentado añadir el origen judío de la familia de Jolly pero obviamente no hay datos que lo confirmen y ha sido borrado de la wikipedia. Lo que si podemos afirmar sin equivocarnos es que ha mantenido una relación artística con Marina Abramović y el apellido Abramovich proviene de judíos rusos como Román Abramovich, el presidente del Chelsea CF que presume de como intentan desprestigiarlo por ser judío. Marina Abramović, conocida por sus obras intensas y a menudo provocativas, y Thomas Jolly han colaborado en un proyecto que combina sus visiones artísticas. Su colaboración se centra en la adaptación de la obra de Abramović "Vida y muerte de Marina Abramović", que se representó en la Comédie-Française de París mientras la artista era directora de la Ópera Nacional de París. En este proyecto, Thomas Jolly dirigió la obra, que se basa en la vida y la trayectoria artística de Abramović. La producción explora las experiencias y actuaciones de Abramović, traduciendo su arte a un formato teatral. En 2021, Abramović fue homenajeada por el presidente Macron durante una ceremonia especial en el Palacio del Elíseo, donde se le otorgó el título de "Commandeur des Arts et Lettres" (Comandante de las Artes y las Letras), una de las distinciones más altas de Francia por sus contribuciones a las artes y la literatura. La gente cree que el apoyo actual del colectivo gay, o LGTB o incluso la creación de la bandera de la liberación homosexual son revolucionarios pero como acabamos de ver el poder-religión en la sombra es el que apoya y crea estos movimientos. Supuestamente fueron Harvey Milk y Gilbert Baker, los autores de la bandera del orgullo gay, bueno, enormes banderas de 15 por 15 metros que ondearon en San Francisco el 25 de junio de 1978. Casi diez años más tarde que banderas con los mismos colores se viesen en la Plaza de las Naciones Unidas durante los Disturbios de Stonewall. ¿Quien identificó al movimiento gay con esos colores que la gente cree que son el arcoíris? ¿No resulta curioso que justamente dicho movimiento se originase en los aledaños de las Naciones Unidas? Curiosamente tras las numerosas criticas recibidas por la organización de los JJOO se han borrado las fuentes oficiales donde se podia contemplar toda la ceremonia de inauguración y es difícil elaborar una buena interpretación. Por fortuna, nuestro amigo el puntal de dios, ha dado con una de esas pocas fuentes oficiales que quedan y que compartiremos con todos vds en la descripción del video y del audio en Ivoox. Vamos a hacer un recorrido por lo que se mostró en dicha ceremonia, lo que oficialmente nos dijeron y lo que nosotros acertamos a ver. 00 Prólogo. El altar Los franceses comienzan con un video pregrabado con imágenes de ceremonias de apertura pasadas de los Juegos y viendo como un famoso comediante francés lleva la llama hacia un estadio Stade de France vacío, sin saber que la ceremonia se llevaría a cabo fuera del recinto. Por primera vez en la historia de los Juegos Olímpicos de Verano, la ceremonia no tuvo lugar en un estadio sino que se celebró en la arteria principal de Paris, el Sena. El desfile por el río seguirá el curso del Sena, de este a oeste, a lo largo de 6,6 km. Es el recorrido desde el nacimiento del sol hasta su muerte. Partirá del puente de Austerlitz, junto al Jardin des Plantes, rodeará las dos islas del centro de la ciudad, la Île Saint Louis y la Île de la Cité, y pasará por debajo de los ocho puentes y pasarelas. Vemos aqui el primer ocho, que no será el último. ¿Qué nos dicen que simboliza el logo de los juegos de manera oficial? “Su forma circular recuerda a la medalla de oro, el premio más importante en los Juegos, y simboliza la excelencia deportiva. En el centro, la llama olímpica representa la pasión y la energía de los atletas. Además, el contorno del logo forma el rostro de "Marianne", un símbolo de Francia que representa los valores de libertad, igualdad y fraternidad.” Ese logo en forma de antorcha, de llama, tenia que ser así ya que están en su casa, la ciudad de la luz. La ciudad de Lucifer y cuna de una de las ramas importantes de la masonería donde la antorcha está presente en los actos como simbología masónica o luciferina. Es el fuego de Prometeo, el fuego luciferino o de la sabiduría, el fuego creador robado de la Fuente para no someterse y volverse como un dios, por eso unimos la antorcha a los superhombres dicho en el término amplio de la palabra que representa a toda la especie humana. Quiero destacar como la antorcha elegida para estos juegos tiene forma de vesica piscis al igual que el descosido que lleva en la espalda el portador de la antorcha enmascarado que aparece luego entre segmentos en escenas pregrabadas, en el Sena y los tejados de París, sirviendo como hilo conductor durante toda la ceremonia. Aparecen entre otros los juegos olímpicos de Tokio. Quiero recordar aqui los 11 escalones en la pagoda/pirámide de base octogonal el dia de la inauguración de los JJOO de Tokio en 2021 y además como era encendida por una atleta de pelo rojo. El cómico entrega la antorcha al futbolista Zinedine Zidane, quien posteriormente la llevará por las calles de la ciudad, llamando la atención de un trío de niños, que representaran las tres veces que París ha acogido los Juegos, y luego ira al Metro de París. Antes de que el tren pueda salir de la estación, se avería por un apagón, lo que lleva a Zidane a pasar la antorcha a los niños a través de la ventanilla del tren. Curiosamente esa misma noche tras acabar la ceremonia cuatro distritos de París se quedaron sin luz y tenemos una impresionante fotografía de Paris a oscuras y solo la Iglesia del Sagrado Corazón iluminada. ¿Me pregunto si eso simbolizaría que el ritual sacrificial ya había terminado? Otro forero de burbuja, LMLights, comenta sobre esto: “Pues si, como mostré en un post previo los JJOO, coinciden casi a la perfección con el calendario SIRIACO de este año (del 26 de Julio al 12 de Agosto, las Olimpiadas terminan el 11). Toda la ceremonia se centró EN EL SENA y a nivel simbólico egipciaco SIRIO es el reloj de las crecidas del NILO, que dan la vida a la TIERRA NEGRA fértil de KHEMET. El APAGON de los primeros dias y la TORRE EIFFEL NEGRA es otro aspecto oculto de SIRIO, como estrella negra (no porque no sea visible, sino por sus "emanaciones" invisibles).” Nosotros comentaremos en mas profundidad sobre esto cuando hablemos del ritual de clausura de estas olimpiadas pero vemos como la luz y la oscuridad están muy presentes en ambas ceremonias. Durante los siglos XVIII-XIX, existió el historiador llamado Jacques-Antoine Dulaure, quien fue el que asoció el nombre de los parisii a la diosa egipcia Isis, debido al descubrimiento de una estatua de la diosa encontrada en la Abadía de Saint-Germain-des-Prés. El escritor François Maspero afirma que el culto a Isis estaba muy extendido en Francia, especialmente en la cuenca de París, ya que por todas partes existían templos de Isis. Cabe destacar que según la terminología occidental, sería más exacto decir que estos "templos" eran la «Casa de Isis» porque dichos templos fueron llamados en egipcio Per o Par, palabra que en egipcio antiguo significa exactamente "el recinto que rodea la casa". De esta forma París sería el resultado de la yuxtaposición de Per/Par-Isis. La familia Parisi fue muy importante y fueron de los primeros en adoptar la flor de Lys que representa a Isis en sus escudos. Podemos ver un libro con una flor de Lys entregado por una nube como escudo de la universidad de Paris lo que se conoce como el conocimiento que viene del cielo. Después de atravesar las catacumbas de París y el lago subterráneo debajo del Palacio Garnier evadiendo a ratas y a un enorme cocodrilo, el que será el portador de la antorcha encapuchado y enmascarado se acercó a los niños remando un bote. ¿Caronte? El trío subió a bordo. Mientras comenzaron su viaje hacia el mundo exterior, la cámara se desplazó hacia el escenario del Trocadéro para revelar a Thomas Bach, presidente del Comité Olímpico Internacional y Emmanuel Macron, presidente de Francia, mientras se pusieron de pie para dar la bienvenida a la multitud. Después de eso, el barco remó a través de un túnel, revelando una luz que brilló para revelar la frase "Ça ira" todo estará bien, cuando el barco llegó atravesando el Sena al Trocadero. El Trocadero, otro punto importante del ritual, digamos que el altar de toda esta ceremonia. ¿Pero qué pinta esa cabeza de toro bien pegada al símbolo de los JJOO que incluso tapaba parte de los anillos olímpicos? La escultura: taureau et daim, de Paul Jouve representa a Apis y Osiris, respectivamente, el dios toro (Apis) y ciervo ( Acer) egipcios La gran explanada y palacios art decó, con estatuas de todo el panteón pagano, desde Apolo, Hércules, los ya vistos Osiris y Apis, etc… Famosa es la imagen de Hitler contemplando París desde ese gran altar con la torre Eiffel detrás. El trocadero es la gran logia, la capilla mayor al aire libre del nuevo París, un lugar emblemático, casi sagrado, que hace de catedral moderna en el entorno de la exposición universal de París, está asentado sobre una gran fuente, quizá la mas grande y potente del mundo, como muchas catedrales lo están sobre nacimientos de agua, siendo la torre Eiffel el cimborrio de transmisión energética. Se dice que el nombre viene de una batalla que nunca se dió, pues los franceses se establecieron en la isla gaditana del Trocadero para intentar tomar Cadiz, pero como se sabe, nunca consiguieron entrar, allí estuvieron tirando cohetes y las gaditanas haciéndose con ellos tirabuzones como dice la canción. Pero eso no importa, porque el nombre era lo importante. El trocadero era una isla sagrada, el punto sin tributos ni jurisdicción, donde cualquier trato o intercambio comercial era franco y totalmente posible. Trocadero viene de trocar, y éste a su vez de TRUCAR, la isla del truco, "Te truco esto por lo otro" como se dice en Andalucía, trucar es intercambiar una cosa por otra equivalente. Trucar es también darse la mano en señal de acuerdo. ¿Truco o trato? Del mismo modo, en el Trocadero de Paris es donde se hace hoy el gran intercambio energético. El truco es siempre, cambiar una cosa por otra. Teniendo ese poder de amplificación, la ceremonia no podia ser en el estadio, la ceremonia tenía que efectuarse ahí. 01 Enchanté. Lady Gaga sin encanto Pudimos ver como un acordeonista con alas nos daba la bienvenida a los 33 juegos olímpicos de 2024 escrito en números romanos. Empezó el desfile de barcazas con los atletas subidos a ellas y acompañándolo vimos unos chorros de agua que se alternaban cruzándose y proyectándose en recto, lo cual creaba una fila de onces en letras romanas. En muchas imágenes pudimos ver tres de estos grupos formando un 33. La magia de la televisión hizo que la gente creyese que Lady Gaga estaba actuando en directo en una escalera dorada colocada en el Sena. No fue así, como algunos usuarios mostraron en video de lo que realmente estaba sucediendo en directo. La cantante norteamericana no actuó de si misma sino que hizo una copia rosa de una actuación de cabaret sin ningún encanto. El color rosa estuvo muy presente en toda la ceremonia. Lo más destacable de la actuación de la Gaga fue que los bailarines hicieron la representación de 10 números 8 con sus pompones de plumas siendo ella el numero 11. Este año hemos tenido un montón de números 88 o eventos donde el 8 ha estado presente como la venida a España del señor Puigdemont precisamente un 8 del mes 8 del 2024, los 88 años del asesinato de Federico García Lorca o la muerte de Alain Delon con 88 años y recordemos que «Saturno» es el planeta que corresponde al número 8. Curiosamente la escena de esta ceremonia que ha creado más controversia de las 12 ha sido la octava llamada Festivité (Festividad). No hace falta que les contemos que la actriz y cantante lady Gaga es considerada dentro del mundo de la conspiración como una de las mayores sacerdotisas del culto de las élites psicopatas que detentan el poder. Aqui la podemos ver en unas fotos en el Capitolio cuando vendió el tema del covid y las mascarillas con un look que daba miedo. Desgraciadamente es un icono para muchos jóvenes que terminan imitando lo que hacen estos ídolos de barro que destilan satanismo por los cuatro costados. Aquí la vemos en una de las fiestas de spirit cooking, “cocina espiritual”, acompañando a Marina Abramovic donde se relamen comiendo y bebiendo “supuesta sangre” de modelos convertidos en altares humanos. El fantasma de la Ópera portador de la luz nos mostraba lo que es chic mientras hacía parkour por los tejados de París. Evidentemente todo lo chic tenia que estar relacionado con el Moulin-Rouge o los obeliscos que adornan París. Bailarines del Moulin-Rouge interpretaron una coreografía de cancán francés, adaptada de "Galop infernal d'Orphée aux enfers" (Galope infernal de Orfeo a los infiernos) que yo creo que es la canción más famosa de este tipo de baile. En dicha canción la letra dice así: “Baco, mi alma voluble, que no podía estar haciendo ¡Con la felicidad en la tierra, aspira a ti, divino Baco! ¡Saluda a la sacerdotisa cuya voz cantará sin cesar sobre la embriaguez a tus elegidos!” Evidentemente el baile habla de caer rendido ante Baco y ser parasitado por el como suele pasar en el trance alcohólico mas intenso llamado Delirium tremens. 02 Synchronicité arrítmica Nos muestran las obras de reconstrucción de Notre-Dame donde destacan los intrincados andamiajes para volver a reconstruir el techo. El aire y el Sol son los dos elementos que se representan aqui por eso vemos que los obreros llevan unos monos de color azulado con las terminaciones de brazos y pies en dorado. El dorado será el color principal de este acto ya que luego nos hablarán de la fabricación de las medallas. Los obreros están colgados de forma que parece que puedan volar y se integren con el cielo. Vemos también una alegoría a los maestros constructores, a los masones, dandole forma a la piedra. Luego veremos una danza homenaje de 420 personas a los equipos de reconstrucción de Notre-Dame tras el incendio de 2019. Y precisamente no estaban muy sincronizados. Una enorme capa de color dorado preside toda la representación. Están danzando en leche lo que para mi simboliza que están recogiendo los frutos de la destrucción de la Catedral de Notre Dame. Nos muestran cómo se confeccionan las medallas olímpicas con especial dedicación en los estuches Louis Vuitton que las portan y los tres armarios donde se guardan. Esta marca se dedica desde 1854 a fabricar los “envases” donde se protegerán las cosas de valor como trajes, sombreros o joyas. Más tarde el propio contenedor pasaría a ser considerado un objeto de lujo y una pieza de arte. Resulta desagradable ver como los obreros se colocan debajo de la pesada carga que es uno de estos baúles que contendrán las medallas olímpicas. Por cierto, aqui podemos ver a Djokovic rezando ante este baúl. Y es que los héroes que crea el poder-religión para que existan dos bandos y por tanto se genere la dualidad que les permita generar dos polos energéticos son muy necesarios para mantener el sistema tal y como esta. La supuesta revolución anti vacunas que genero este tenista al negarse a inocularse la supuesta vacuna del covid queda empañada cuando miramos en profundidad los hechos. Es más que evidente que este ídolo de masas acompaña sus fotos icónicas con los mismos signos, en este caso el ojo de Horus, que el resto de iconos mundiales. Aquí vemos como su hermana, que es la que gestiona su fundación para apoyar a los niños, le manda un mensaje de agradecimiento a Marina Abramovic que parece que en este video es nuestro portador de la oscuridad. También pidió apoyo a los Clinton en 2013. Un verdadero despierto y más siendo cristiano jamás habría besado de esa manera la medalla satánica de los JJOO de París en forma de hexágono. Luego vemos cómo se forjan las medallas olímpicas, a la antigua usanza en un crisol. Lo cual es una soberana mentira ya que las medallas olímpicas cada vez contienen menos oro. Según la información oficial, en los Juegos Olímpicos de París 2024, la medalla de oro contiene aproximadamente 529 gramos de plata y 6 gramos de oro. Aproximadamente un 1% es suficiente para darle el distintivo brillo dorado. Así que parece que no es oro todo lo que reluce. Tras la asíncrona danza pudimos ver al jorobado de NotreDame sujeto en una aguja coronada por un gallo, supuestamente sobreviviente al incendio de la catedral. Lo que no nos contaron es que el techo de Notre Dame estaba en estado ruinoso y que los materiales empleados en su construcción y la de la aguja impedían realizar un trabajo de restauración de forma económica. El cobre, el plomo y los compuestos venenosos derivados por su exposición al aire habían creado como en el caso de las torres gemelas con el amianto un factor determinante para ser elegido como sacrificable. Eso si, unos días antes se encargaron de retirar dieciséis estatuas de cobre de la aguja de la catedral de Notre-Dame para ser restauradas junto a las famosísimas gárgolas. Notre Dame y la mezquita Al-Aqsa, en Jerusalén, el tercer lugar más sagrado del islam ardían al mismo tiempo en plena semana santa. 03 Liberté pero sin cuello Tras ver el ojo rojo de HAL, Liberté es el único rótulo que da comienzo a un acto donde las letras aparecen poco a poco, en este caso en tres fases en clara alusión a las tres palabras que nos han quedado de la Revolución francesa: Libertad, Igualdad y Fraternidad. Estas tres palabras darán paso a los actos tercero, cuarto y quinto en claro homenaje a esta falsa Revolución. Y es que la misma palabra, revolución, ya nos indica su propia falsedad. Una revolución consiste en una vuelta entera de un eje en sus 360 grados para volver al mismo sitio, y en eso han consistido todas las falsas revoluciones hasta el momento. El verdadero poder-religión se ha mantenido como eje y nosotros tan solo hemos dado vueltas como tontos. Hablar de Francia es hablar de la Revolución Francesa y hablar de la Revolución Francesa es hablar de masonería por mucho que el autoproclamado mayor experto en el tema en España, el señor García Trevijano, nunca hablase sobre ello y optase por esquivarlo ante preguntas directas. También calló siempre sobre su pertenencia a la masonería por otra parte. Muchos autores modernos han hablado sobre esto, yo desde luego os recomendaría que leyerais los dos trabajos de Jüri Lina “Bajo el Signo del Escorpión” y “Arquitectos del engaño: La historia secreta de la masonería” y que veáis el estupendo video “REVOLUCION FRANCESA Y MASONERIA” que como es habitual tendréis en la descripción del podcast en Ivoox. En el territorio patrio contamos con autores como Alberto Bárcena Pérez con libros que tratan del asunto de la masonería y la revolución. El primero de ellos se titula “La guerra de la Vendée: una cruzada en la revolución”. Donde nos cuenta desde su punto de vista católico (El es profesor de la Universidad CEU San Pablo) una de las facetas más desconocidas de la revolución francesa que es el genocidio y represión que llevaron a cabo los revolucionarios en el Oeste de Francia, en dicho departamento. Con episodios como el bombardeo con cañones como método más expeditivo y práctico que el fusilamiento de prisioneros de guerra (civiles incluidos). Hundimiento de barcas en el río con personas atadas dentro y todo tipo de atrocidades, violaciones, asesinatos etc etc. Por contra en la novela histórica de “Viva la república” de Blasco Ibáñez ante tan importantes acontecimientos históricos, no cabe duda acerca de la actitud del narrador, en absoluto objetiva ni imparcial, aun cuando no silencie e incluso llegue a condenar los horrores consecuencia de los hechos de esa fuerza desbordada que es la masa popular. Contemporánea de Blasco tenemos a la escritora Nesta Helen Webster con obras como “The French Revolution”, “Revolución mundial; el complot contra la civilización” donde habla de los illuminatis y “Secret societies” donde obviamente habla de la masonería entre otras muchas. Pero si hay un libro que deja el tema claro es “Memorias para servir a la historia del jacobinismo” escrito por el abate Barruel y traducido al castellano en 1813. Allí nos explica como los iluminados de Baviera y la masonería fueron los iniciadores y los jacobinos los ejecutores. Se abrieron logias por toda Francia para difundir la ideas revolucionarias. Luego se cerraron las logias de los pobres, las de nivel seguirían abiertas. Desde una torre octogonal nuestro amigo el portador de la luz nos muestra la ciudad de París para ir después a ver la representación de la Revolución francesa en un teatro y pasar luego a un primer plano de una guillotinada Maria Antonieta. Un octágono es la suma de dos cuadrados girados o si se prefiere es la forma de ver en cuatro dimensiones a un cubo llamado hipercubo: “Octágono que no es más que un cuadrado encima de otro cuadrado. Un cuadrado encima de otro es más simbolismo de sociedades secretas. En el lenguaje secreto de simbolismo un cuadrado encima de otro significa control sobre todo lo que está bien y todo lo que está mal. De nuevo relativismo moral. Todo lo que es justo y todo lo que es injusto. La ley del hombre. Todo lo que es positivo y todo lo que es negativo. En otras palabras. Nosotros controlamos todo. El hipercubo es un símbolo del oscuro ocultismo no específicamente del satanismo pero desde luego un símbolo oculto profundamente oscuro. El hipercubo es uno de los símbolos más ocultos dentro de todo oscuro ocultismo. Sin embargo se encuentra prevalentemente en toda nuestra sociedad en la forma de simplismo octogonal. Y como ya veremos la proyección de dos dimensiones del hipercubo es un octágono que es una representación de un objeto de cuatro dimensiones.” Los templarios fueron uno de los que utilizaron la magia que encierra esta figura geométrica en sus construcciones, sobre todo en las torres. La artesanía mudéjar o los caballeros de Malta también utilizan este simbolismo, pero sin duda donde es más utilizado es dentro de las organizaciones que mas control ejercen, el ejercito y la policia. La Conciergerie o Palais de la Cité, es un edificio histórico de París que ocupa el muelle del Reloj, en la Isla de la Cité, en el Premier arrondissement. El palacio fue residencia de los reyes de Francia de los siglos x a xiv. Terminó convertido en prisión del Estado en 1392. La prisión de la Conciergerie estuvo considerada, durante el Terror, como la antecámara de la muerte. Pocos fueron los que salieron libres de la prisión. Entre los que no, la reina María Antonieta, encarcelada aquí en 1793. El grupo heavy elegido para este acto fue Gojira cuyas letras nos hablan del medio ambiente, del espiritualismo y lo trascendental aunque aqui podemos verlos riéndose de la crucifixión de Jesucristo. Pero aqui se trata de sangre. Debemos recordar que la Revolución francesa fue cosa de masones y como su lema no eran solo 3 palabras sino 4: Libertad, Igualdad, Fraternidad o la muerte. La canción que tocó Gojira en la Ceremonia de Inauguración de los Juegos Olímpicos 2024 fue “Ah, ça ira” de Édith Piaf, una canción revolucionaria de 1790 que hace un llamado a la lucha y libertad contra la aristocracia. La cantante de ópera Marina Viotti, terminó el show desplazándose en un barco con una vela brillante, o sea iluminada, tras el apoteosis de sangre. O sea, hubo que cortar cabezas para traeros la iluminación. Esto es lo que decía la canción del grupo heavy: “Ah, eso servirá. ¡Así se hace! ¡Eso es! ¡Colgaremos a los aristócratas! El castigo para vosotros está a punto de comenzar Porque el pueblo reclama sus derechos. Habéis pagado bien por nuestras cabezas ¡Se acabó, reyes! Ya no podemos contar con los nuestros Ahora compraremos las vuestras Porque somos nosotros los que hacemos la ley. ¡Ah, eso servirá! ¡Así se hace! ¡Eso servirá! Los aristócratas en el farol Ah, así se hace ¡Así se hace! ¡Eso es! ¡Colgaremos a los aristócratas!” Después de eso veremos una parte de la libertad que supuestamente nos habla de la libertad sexual donde algunos acróbatas se mantienen en equilibrio vestidos con atrevidos colores. Esta parte de la ceremonia también abordó diversas formas de amor incluidos temas LGBT y poliamor, expresadas por acróbatas de la compañía XY y bailarines. Por ultimo vemos como un trio formado por dos chicos y una chica entran en la Biblioteca Nacional de Francia a mostrar algunos de los libros sobre amor que han cambiado los pensamientos de las personas desde 1732. Uno de los libros es "Le diable au corps" (Con el diablo en el cuerpo), de Raymond Radiguet. 04 Égalité o mejor lo llamamos mezcla En este trozo mezclan dos estilos musicales completamente diferentes porque la igualdad que nos proponen las elites psicopatocarticas en su Agenda 2030 es esa, mezclar oro con estiércol. Para abrir el segmento Égalité (Igualdad), la banda de música de la Guardia Republicana tocó "For me formidable" de Charles Aznavour en la pasarela del Puente de las Artes. La cantante franco-maliense Aya Nakamura interpretó "Pookie", un arreglo de "For me formidable" y su éxito "Djadja", frente al Institut de France acompañado por el Coro del Ejército Francés y músicos de la Guardia Republicana. Esta es parte de le letra de esta última canción: “Te hiciste el hermano mayor para ensuciarme Estás buscando problemas sin querer Maldita sea, me estás jodiendo Así no es cómo hacemos las cosas Maldita sea, me estás jodiendo Así no es cómo hacemos las cosas Maldita sea, me estás jodiendo” Y este el estribillo: “Oh, Djadja Pero de ninguna manera, Djadja Yo no soy tu perra, Djadja En la de perrito, te crees lo máximo, nene” La verdad es que a uno se le revuelve el estómago con tanta mezcla y tanto disfraz cutre. (fotos 04 Égalité 05 y 04 Égalité 06.jpg) No es que Charles Aznavour sea uno de mis cantantes favoritos pero les invito a buscar la letra de su canción y compararla…desde luego no son dos gotas de agua. Y hablando de agua yo me pregunto porque no han utilizado la Geoingeniería criminal que emplean constantemente contra nosotros y han permitido que lloviese afeando un poco el espectáculo. ¿Quizás para que los conspiranoicos no podamos decir que existe tal tecnologia? 05 Fraternité enemiga de la verdad La quinta secuencia, Fraternité (Fraternidad), comenzó con la "Danza macabra" de Camille Saint-Saëns y hacía referencia al robo de la Mona Lisa del Louvre en 1911. Nos muestran una de las esculturas icónicas del museo del Louvre, la Victoria alada de Samotracia, a la que le faltan los brazos y la cabeza. Lo que mucha gente desconoce es que su descubridor, Charles Champoiseau, cónsul francés en el Imperio otomano para Napoleón III recibió la legión de honor por tal descubrimiento. Esta escultura aparecerá también en la ceremonia de clausura. En esta parte lo verdaderamente importante es el propio museo, su colocación en esa posición exacta a 3333 metros del arco del triunfo. Les recomiendo la lectura de VISIONES DE UN MUNDO OCULTO (1) PARÍS, LA CITÉ DES LUMIERES de Vae Victis donde nos destripa gran parte del esoterismo arquitectónico de París. Mostrándonos por ejemplo el llamado eje histórico que alinea los mayores monumentos. Una foto satelital del eje histórico de París muestra como algunas construcciones relevantes trazan una línea recta sobre el territorio a lo largo de casi 8 kilómetros, desde el Arco de la Defensa hasta las puertas del Louvre. Allí tenemos al Louvre y su pirámide acristalada iluminada en la noche parisina. Ali se realizó la famosa foto de la victoria de Macron, el que esta unido a la familia Rothschild, a la masonería y aficionado a realizar cornutos y otros gestos como el de la pirámide. Poca gente sabe que la pirámide del Louvre contiene una pirámide invertida mas pequeña dentro. Se dice que entre las dos contienen 666 cristales, aunque un servidor los ha contado y son 673. Da igual, lo importante es pensar en la estructura como una alusión al concepto hermético “Como es arriba, es abajo”. Ademas de saber que ha sido utilizada en extraños rituales como el efectuado por el cambio climático el 27-9-2019. Así que es normal que algunas de las n de cuadros famosos escapen de sus lienzos y miren por la ventana el Sena aunque allí el espectáculo no sea tampoco muy tranquilizador. Vemos en el río diferentes cabezas que salen del agua pero todas en una forma que resulta dañarnos a la vista ya que están a punto de ahogarse. Me recuerda el caso de Omayra Sánchez, una niña de 13 años que murió frente a las cámaras de televisión tras luchar por su vida durante tres días. Aquello fue emitido por TV y ha sido aprovechado como publicidad hasta en festivales musicales. Creo que es una forma sibilina de decirnos que los océanos están aumentado de altura porque se derriten los polos, lo que es una falacia enorme. Curiosamente mientras llovía a mares en París un pianista tocaba “juegos de agua”, de Maurice Ravel. La ceremonia se trasladó al Museo de Orsay y rindió homenaje a la ciencia de la imagen, en particular a los cineastas franceses, los hermanos Lumière y Georges Méliès, junto con obras de la literatura infantil francesa como El Principito. A través del cine y de la literatura fantástica han logrado traernos hasta aqui y las mentiras son cada vez más grandes. Vemos como el reloj marca las 9 y 49 pero desde dentro marca las 3 y 18. Nos están diciendo que ellos controlan el tiempo y que simplemente se mantienen como observadores mostrándonos una estatua de la libertad en ruinas y como colofón la Estación espacial internacional que es el sumun de las mentiras. La Estación Espacial Internacional, revela un periscopio amarillo que muestra una secuencia animada de un submarino que presenta a los Minions de Illumination realizando varios eventos deportivos en un submarino con la Mona Lisa emergiendo del Sena después de que el submarino implosionara. Estos «mini demonios amarillos» mas conocidos por Minions utilizan justamente el color amarillo por ser el opuesto o complementario al azul. Por supuesto su creador, Pierre Coffin es un conocido masón. Ya saben que los antiguos genios o antiguos demonios de la antigüedad eran representados de azul. Recuerden que oficialmente la G que portan en pecho es por su villano GRU, no por la G de la masonería y que la compañía se llame Ilumination es una casualidad. La mezzosoprano negra Axelle Saint-Cirel representó la personificación nacional de la Marianne, cantando el himno nacional francés usando un vestido Dior con la bandera francesa en lo alto del Grand Palais. Nosotros no somos racistas, pero la Marianne era blanca y hay buenas cantantes de opera de ese color. 06 Sororité que promulga el aborto La sexta secuencia, Sororité (Sororidad, hermandad entre mujeres), destacó a 11 mujeres francesas notables que resurgían de unas bases con estatuas doradas a lo largo del Sena: Olympe de Gouges, Alice Milliat, Gisèle Halimi, Paulette Nardal, Jeanne Barret, Christine de Pizan, Louise Michel, Alice Guy, Simone Veil y Simone de Beauvoir. Curiosamente la estatua de esta última no se levantó durante la ceremonia y ni siquiera apareció por TV pero allí estaba su pedestal. Brevemente hablaremos de las dos ultimas mujeres, ambas promulgadoras del feminismo y del aborto. Simone Veil que fue una abogada y política francesa, superviviente del Holocausto. Fue ministra de Sanidad y promulgó la ley llamada ley Veil por la que se despenalizó el aborto en Francia. También presidio el parlamento europeo. Simone de Beauvoir, fue una filósofa, profesora, escritora y activista feminista francesa. Su pareja fue el filósofo Jean-Paul Sartre. Figura andrógina e icono del feminismo mas radical que mezclaba también el comunismo y la promulgación del aborto libre. Recomendaría ver el magnífico video que hizo Pedro Bustamante haciéndose la pregunta ¿Simone de Beauvoir fue un hombre? 07 Sportivité del perro y la cabra La séptima secuencia, Sportivité (Deportividad), reanudó el desfile de barcos con algunas de las delegaciones que menos medallas olímpicas han obtenido, suponemos que por casualidad. Vemos reproducidos los jardines de Versalles en unas barcazas. Los participantes llevan ropas acorde al siglo que representan, vemos un tipo llevando una gorra como el general De Gaulle con un 20 en números romanos a la espalda. El contratenor polaco Jakub Józef Orliński interpretó una pieza barroca, seguido por el rapero Rim'K cantando “King” vestido de rojo y negro y encima de un ajedrezado de cuadrados blancos y negros. La letra de la canción nos vende un futuro de superhombres si nos unimos: “¿Cuántos escollos y trampas hay en mi camino? No quiero ser un superhéroe, sólo un superhumano sigo adelante sin miedo al mañana La esperanza en mi corazón, el futuro en mis manos Saqué la bandera tan blanca y pura como la paloma (Brrr ) Todos juntos podríamos unirnos y cambiar el mundo (Oh) Sólo un día de paz para detener las bombas Sólo un día lluvioso para ocultar mis lágrimas que caen Conozco todos los callejones de París incluso con los ojos cerrados. Quiero convertirme en el Príncipe de ciudades como Michel Berger. Centrado en los puntos ciegos, estoy haciendo un buen trabajo. Viajo en un Low Rider, me gusta Snoop Dogg.” Vamos a centrarnos en este rapero multimillonario llamado Snoop Dogg lo que podría traducirse por perro husmeador. Vamos a ver que esto sigue la relación con SIRIO la estrella negra, la estrella de la constelación del perro, del verano, de la canícula veraniega. Han elevado a los altares a un delincuente y traficante de drogas que no cuenta precisamente cosas buena en sus letras a los niños y lo han exaltado como estrella a imitar en estos juegos. Debemos fijarnos en el pañuelo doblado adrede para que las estrellas de 5 puntas estén invertidas o en su inseparable colgante con la cabra que nos recuerda a la Baronesa Philippine W.P Rothschild. Aquí tuvimos a COBI, una mascota perro para celebrar nuestros juegos olímpicos. 08 Festivité Fiesta, pero pagana Y llegamos al octavo acto, que como hemos dicho y no podia ser otro por ser este año el año del ocho, ha sido el que ha tenido repercusión mundial generando un rechazo mayúsculo. Vemos un puente convertido en una pasarela de moda, de lo que ellos deciden que debemos vestir, que a su vez y como luego veremos se convierte en la mesa de la última cena. Importante es destacar que en cada tramo del puente hay colgados 6 fluorescentes y que la imagen de la cámara está diseñada para enfocar tres tramos por lo que subliminalmente veremos un 666. Por supuesto el barco con la delegación francesa aparece por allí justo cuando ha cruzado el puente el portador de la luz. Luego aparece el azul con un tributo a la Unión Europea mediante la canción "The Final Countdown" y un espectáculo de drones alrededor de la Torre Eiffel formando las 12 estrellas de la bandera de la UE. Después podemos ver a los ciudadanos que celebraban en la barcaza de la unión europea como empiezan a bailar pareciendo zombies. Por supuesto no falta el ajedrezado masónico en el suelo o en su vestuario. Y es que la magia de las logias se produce en dicha pista blanquinegra. Nos avisan con unos fogonazos azules de que lo mejor está al llegar diciéndonos que estamos unidos en la diversidad. Muy pronto nos servirán a Dioniso como si fuese un pavo. Veamos que es lo que se nos dice que representaba la parte que ha generado más controversia: “Philippe Katerine, casi desnudo y pintado como un Dioniso azul (el dios griego del vino, en homenaje a la industria vitivinícola francesa y a los antiguos Juegos Olímpicos griegos), interpretó "Nu", tumbado en el centro de una larga mesa con los participantes de la pasarela posando de una manera que recuerda a una fiesta de bacanal. La banda sonora de las primeras ocho secuencias incluía clásicos reorganizados de la canción francesa y la cultura pop mezclados por la DJ Barbara Butch. La parte del DJ del segmento se interpretó como una referencia al cuadro de Leonardo da Vinci La última cena, al cuadro de Jan van Bijlert Le Festin des Dieux y a la relación entre Dioniso y su hija Sequana, la diosa del Sena.” Philippe Katerine canta “Nu”, desnudo, aunque por motivos obvios no va desnudo aunque les gustaria, pero nos canta que desnudos no habría guerras y que seríamos como animales que nunca se exceden. Pero nosotros creemos reconocer en el a Dioniso, el más juerguista de los dioses que con su borrachera nos posee y nos hace hacer cosas inimaginables con sus caretas dionisiacas. Me pregunto porque es necesario mezclar a niños con drag queens, con hombres disfrazados de mujer a los que el dios azul vuelve locos. Todos desnudos para que el ritual pueda fluir, desde luego este supuesto dios azul da paso al siguiente acto llamado oscuridad. De la DJ Barbara Butch diremos poca cosa, que procede de padre y madre judíos y que es la figura central de una burla pagana al cuadro de la última cena de Leonardo da Vinci. Coincido con Hector en verla como Hecate con su corona de espinas guiando a los pobres mortales al inframundo. Desde luego esta recreación no se basa en el cuadro “Festín de los dioses” de Bellini ni en “Festin de los dioses” de Van Bijlert y vemos clara la burla al cristianismo. 09 Obscurité iluminada del Nuevo Orden Mundial La novena secuencia, Obscurité (Oscuridad), continuó desde Festivité, con la música volviéndose más oscura y los bailarines a bordo de la barcaza volviéndose más frenéticos. Vemos como los cuadrados blancos y negros de la pista de baile se empiezan a degradar y la Torre Eiffel adquiría un color rojo sangre mientras los bailarines parecen muñecos rotos sin identidad propia. Mientras su piso LED mostraba un montaje de varios desastres climáticos, los bailarines se desplomaron lentamente, uno por uno, tiñendo toda la pista de baile de rojo. Evidentemente nos están hablando de los planes eugenistas de la elite psicópata. ¿Se trataran de las repentinitis que estamos viendo tras el Covid? Mientras el Sena se oscurecía, Juliette Armanet apareció en una balsa cantando "Imagine" como parte de un llamado a la paz, acompañada por Sofiane Pamart en un piano en llamas. Decir que esta canción de Lennon es el himno del Nuevo Orden Mundial es quedarnos cortos. ¿Por qué decimos que la canción imagine es el himno del nuevo orden mundial? Pongan atención a las frases clave: “Imagina que no existe el Cielo Imagina a toda la gente viviendo el hoy Imagina que no hay países ni tampoco religión Puedes decir que soy un soñador pero no soy el único espero que algún día (TU) te unas a nosotros y el mundo vivirá como uno (el nuevo orden mundial ecuménico)” Es importante resaltar que dentro del mundo del satanismo el numero importante es el 9 y no el 666 como nos tienen acostumbrados por los medios, el cine o la TV. En la biblia se dice que el 666 es el numero del hombre lo cual nos lleva al átomo de carbono que está formado por 6 neutrones, seis protones y seis electrones, la molécula de la vida, el ADN no existiría sin carbono. Es por esto, que han elegido precisamente el acto nueve para denominarlo oscuridad en clara referencia a sus principios satánicos. Mark Passió, un ex satanista nos dice que esconde el número 9: “El número nueve es el número de Satán en el satanismo. Y ya he explicado anteriormente porque. Y brevemente lo haré de nuevo. Estas son las palabras de La Vey del libro «los rituales satánicos«. A pesar de otros intentos de identificar un cierto número y se está refiriendo al número seis-seis-seis (666). Con Satán se conocerá que el nueve es el número. El nueve es el número de Satán. El nueve es el número del ego. Te lo está diciendo todo aquí mismo. Lo que representa. El nueve es el número del ego ya que siempre regresa a sí mismo. Independientemente de lo que se haga mediante la más compleja multiplicación del nueve por cualquier otro número en la ecuación final sólo el nueve permanecerá. Así que veamos esta columna de la izquierda en este gráfico. 1+9=10=1 2+9=11=2 Uno más nueve es diez. Si añadimos el uno más cero del diez obtenemos uno. Así que comenzamos con uno añadimos nueve y luego al hacer la suma del resultado del diez, es decir el uno más el cero regresamos al uno. Así que comenzamos con uno y regresamos al uno. Si tomamos el número dos y añadimos nueve el resultado es once. Y uno más uno son dos. Así que comenzamos con dos y regresamos al dos. Independientemente del número con el que hagas esto con el número nueve siempre regresará a sí mismo. Qué significa. Que añadir nueve en la simbología numérica conocida como la Gematría es como añadir cero. Nunca añades nada cuando añades nueve. ¿Y qué es lo que representa el nueve? La Vey nos lo acaba de decir representa el ego. Pues cuando añades el ego en cualquier cosa ningún valor es añadido. No tienes ningún incremento. Permanece exactamente dónde está cuando se continuó añadiendo el ego. El ego no cambia nada. Ahora veamos la multiplicación del número nueve. 9*1=9 9*2=18=1+8=9 9*3=27=2+7=9 Nueve por uno es nueve. Nueve por dos es dieciocho y uno más ocho es nueve. Nueve por tres veintisiete. Dos más siete es nueve. Nueve por cuatro trenta y seis. Tres más seis son nueve. Nueve por cinco cuarenta y cinco. Cuatro más cinco es nueve. Independientemente cuán complejo sea el número que se multiplica al nueve la suma de los dígitos del resultado siempre devolverá el nueve ¿Simbólicamente que representa esto? Cuando el ego (el nueve) es multiplicado por cualquier cosa siempre regresa a sí mismo. Más ego es creado y no hay ningún cambio, comenzaste con nueve terminas con nueve, vale. Así que qué tiene esto que ver con el otro número del que habla La Vey. Pues él dice que no queremos identificarnos con el otro número seis-seis-seis (666). El así llamado número de la bestia. Pero si miramos la Gematría. Seis más seis más seis son dieciocho, uno más ocho son nueve. Eso significa en Gematría que el 666 es equivalente numerológicamente al nueve. Por eso el número de Satán es el 666, el nueve. Es una verdad matemática codificada. Y así es básicamente como funciona la oculta Gematría para simbolizar conceptos.Una manera simbólica muy embriagadora de explicar un concepto. Pero, como suelen decir, las matemáticas no mienten.” La noche del 27 al 28 a las 23:40 tras la ceremonia de inauguración de los juegos olímpicos hubo un corte eléctrico en cuatro distritos de París y 85.000 usuarios se quedaron sin luz durante 10 minutos. La propia Torre Eiffel perdió su luz. En ese momento una tuitera colgó una foto donde solo se iluminó la iglesia del sagrado corazón, en el monte de los mártires, indicando que todo está ya preparado para el RITUAL DEL SACRIFICIO. Desde luego ese piano ardiendo a la deriva nos recordó a un funeral vikingo y la próxima escena nos lo deja claro, están hablando de la oscuridad tras la muerte, la nuestra, por supuesto. 10 Solidarité a la mano izquierda 1001 Oficialmente la décima secuencia, la que debería ser de Dios, Solidarité (Solidaridad), mostraba a un jinete enmascarado que representaba a la heroína francesa Juana de Arco llevando una bandera olímpica como capa junto con una armadura plateada y negra, montando un caballo mecánico metálico a lo largo del Sena para difundir el espíritu de los Juegos. Este segmento hizo referencia a Pierre de Coubertin y la historia de los Juegos Olímpicos, con numerosas imágenes de archivo y momentos destacados de Juegos pasados. Los voluntarios que portaban las banderas de los países participantes se reunieron bajo la Torre Eiffel. Creemos en realidad que el jinete enmascarado es el mismo enmascarado que ha venido acompañándonos durante toda la ceremonia y que no es otro que Caronte. Lo vimos abrir el desfile de las barcas tras él, atrayendo a todos esos países al Nuevo Orden Mundial y ahora lo vemos llevando tras él a todas esas naciones de nuevo. En cuanto a que un caballo cabalgue por el agua volvemos a ver una burla al cristianismo cuando Jesús caminó por el agua y tenemos en cuenta las palabras escritas en Apocalipsis 6:8 El jinete apareció sobre un caballo blanco y desfila por la Torre Eiffel que hace de pasarela y desde su perspectiva toma el camino de la mano izquierda. “El camino de la mano izquierda” significa utilizar la magia para hacer el mal, utilizarla de forma más agresiva para lastimar a los demás y romper su voluntad o hacerlo de forma inmoral, antiética o maligna. Lleva esta bandera olímpica doblada a un mástil en el Trocadéro justo frente a las estatuas del toro y el ciervo. Les ofrece un truco o trato a todos esos países que aceptan gustosos la implantación del Nuevo Orden Mundial. Vemos como las alas de Isis están presentes en esta ceremonia pagana mostrándonos caballos voladores como en tradiciones como la India. La Torre Eiffel del Trocadero está en posición invertida a la torre real. Si nos fijamos en la foto en la real la luz está en la punta y en la que está en el Trocadero todos los focos estarán en la base que es donde se realizaran las cosas solemnes. Se han vuelto virales los recuerdos de la Torre Eiffel invertida en forma de antorcha. El Himno Olímpico fue interpretado por el Coro de Radio Francia con la Escuela Coral de Radio France y la Orquesta Nacional de Francia mientras miembros de las Fuerzas Armadas francesas izaban la bandera, que accidentalmente fue colocada al revés, o eso nos dice la oficialidad. Mientras es izada al revés los dos coros, uno vestido de negro riguroso y otro con los colores de la bandera francesa cantan adoptando la posición de pirámide truncada invertida. Ya sabemos que la inversión es parte fundamental de los rituales oscuros. 11 Solennité en la hora del pacto Tony Estanguet, presidente del Comité Organizador de los Juegos de París 2024, da un discurso del que nos quedamos con dos frases: “Queridos deportistas, un fragmento de la Torre Eiffel estará en el centro de cada una de vuestras medallas.” “De hecho, fueron los Juegos los que nos hicieron crecer. Vinieron a recordarnos que, aunque en Francia nunca nos ponemos de acuerdo en nada, en los momentos importantes sabemos cómo unir nuestras fuerzas.” La primera frase nos recuerda que cada medalla olímpica estará adornada con una pieza metálica hexagonal creada con el hierro original utilizado en la construcción de la Torre Eiffel. Esto es posible porque durante el siglo pasado se realizaron trabajos para modernizar los ascensores de la Torre Eiffel. Como resultado, se retiraron secciones de “la Dama de Hierro” de forma permanente y se conservaron para el futuro. "Decidimos añadir este hexágono [que representa la forma de Francia] de la misma manera que lo haríamos con una piedra preciosa, en el centro y colocado como el elemento más precioso de la medalla", apunta Clémentine Massonnat, responsable de las actividades creativas de Chaumet la joyería que ha creado las medallas. Tiene guasa el nombre, Masson…nat, pero más inquina tiene la forma hexagonal que han añadido, yo supongo que para añadir peso y deshacerse de la chatarra, ja, ja, ja. Les recomiendo que lean mi artículo OSCURO OCULTISMO EN HIPERCUBOS, HEXÁGONOS Y OCTÁGONOS. Allí intentó explicarles porque están relacionados el 9 y el 11 con el hexágono que es la figura que se genera en su interior cuando expresamos esas dos cifras en números romanos. Son la escuadra y el compás cruzados entre las dos columnas del templo masónico, o emblemas sagrados en religiones mistéricas como el hexagrama de Salomón o el “Auspice Maria” bajo la protección de Maria del cristianismo. 1105a The glow of sirius, the blazing star, el resplandor de Sirio, la estrella ardiente son directamente los rayos del brillo de sirio, la estrella ardiente de las logias. Medallas con el cubo de Saturno (seth) en su interior, y en el centro la llama robada de la sabiduría. Aunque cambien nombres y los encripten, siempre son los mismos símbolos. El cubo, la Matrix de Saturno o Seth. Nosotros no podemos despejar sus dudas como despejaron los aviones de París durante la ceremonia de apertura de los JJOO, pero sabemos que el hexágono que es la forma 2D en que se ve un cubo en 3D es un símbolo muy poderoso que todos quieren utilizar. Como la selección francesa y su gallo dentro de un hexágono, nótese que las tres efes pueden entenderse como tres seises ya que la f corresponde al 6 en el alfabeto. El hexágono es una forma natural que representa a toda la humanidad, hombres y mujeres, como pueden ver en este esquema donde también se muestra como los pedófilos utilizan asimismo esos símbolos primigenios. Es el mal uso que se dé a un símbolo lo que lo convierte en maligno, neutro o benigno. En cuanto a la segunda frase parece indicar que siguen con sus planes de unificar al mundo entero en su ya desnortado Nuevo Orden Mundial. El Juramento Olímpico lo prestaron los abanderados franceses Mélina Robert-Michon y Florent Manaudou, el entrenador Christophe Massina y un árbitro de lucha libre. Zinedine Zidane tomó la llama olímpica del portador enmascarado y se la entregó al tenista español Rafael Nadal, quien llevó la llama por el Sena en barco junto con los campeones olímpicos Carl Lewis, Serena Williams y Nadia Comăneci. Un juego de luces en la Torre Eiffel nos anuncia que el pacto está cerrado. ¿El pacto con quién? Obviamente con Lucifer. El ojo que todo lo ve nos observa desde la dama de hierro. Y lo dejan claro con el tema elegido para cerrar, un tema del musico Cerrone titulado Supernaturaleza mientras el cantante es iluminado con cuatro focos que le dan el aspecto de una estrella de cinco puntas: “Érase una vez La ciencia abrió la puerta Alimentaríamos los campos hambrientos Tilll ya no podían comer Pero la poción que hicimos Tocó a las criaturas abajo Y crecen de alguna manera Que nunca habíamos visto antes Supernaturaleza, supernaturaleza, supernaturaleza, supernaturaleza Estaban enojados con el hombre Causa cambió su forma de vida Y toman su dulce venganza Mientras pisotean toda la noche Por cien millas o más Se podía oír llorar a la gente Pero no hay nada que puedas hacer Incluso Dios está de su lado Dios está encendido, Dios está encendido, Dios está de su lado Supernaturaleza, supernaturaleza, supernaturaleza, supernaturaleza Los coches romperán la luz Ven fluyendo en el aire La criatura decidirá ¿Quién va a dónde? ¿Cómo puedo explicarlo? Las cosas son diferentes hoy en día Oscuridad alrededor Nadie hace un sonido Qué triste afable A nadie parece importar

I couldn't quite believe that one of our most prolific living playwright's agreed to be on my podcast. But one of the most incredible things about Mark Ravenhill is how generous he is with his knowledge and expertise.  This was a lengthy chat which covered the French word for prompter, his sometimes- good-sometimes-bad relationships with stage managers, the remarkable German theatre system and his worst digs story. Which also involves me owning up to one of my biggest mistakes. Yikes.  Editing this was almost impossible as so much of what Mark says is so interesting. I think I could have chatted theatre with him all day. Make a cup of tea (or four) and enjoy this week's episode of 'Prompt'.

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio theatre reviews. This week Vidar was reviewing the reimagining for the stage of Mark Ravenhill's 2013 radio play' Ben and Imo' at the Swan Theatre, Royal Shakespeare Company, Stratford-upon-Avon with description by Professional Audio Describers Emily Magdij and Carolyn Smith. About Ben and Imo: This is the true story of the passionate partnership between Benjamin Britten and Imogen Holst. The 1953 Coronation of Queen Elizabeth II is fast approaching. To mark the occasion, Benjamin Britten has just nine months to write a new opera about her predecessor Elizabeth I. Into the world of the disheartened composer enters the exuberant and passionate Imogen Holst, daughter of Gustav and an accomplished musician in her own right. Her candid and can-do attitude proves to be the perfect foil for the capricious and often maddening Britten, and what begins as an arrangement of practical support turns into a bond that not only sees Gloriana to its premiere but endures throughout the rest of their lives. Originally written to mark the centenary of Britten's birth and performed on BBC Radio 3 in 2013, Mark Ravenhill's Ben and Imo is a powerful new play, reimagined for 2024 that explores the brilliant yet often turbulent working relationship of two of the 20th Century's greatest musical minds. For more about access at the Royal Shakespeare Company including details of audio described performances of their productions do visit the access pages of their website - https://www.rsc.org.uk/your-visit/access (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

We are delighted that Mark Ravenhill - playwright and theatre maker - agreed to talk to us about his work and to share his advice for fringe theatre makers. Mark is currently mailing out (for FREE!) 101 Exercises for Playwrights via Buttondown. You can sign up and find out more via: https://twitter.com/MarkRavenhill2More info on the Camden Fringe www.camdenfringe.comOur music is by: https://www.purple-planet.com/ Hosted on Acast. See acast.com/privacy for more information.

Carolyn Downing is an award-winning sound designer working in a variety of fields including exhibitions, fashion, theatre and live events. Creativity and collaboration are at the heart of her work from initial concept development with fellow designers through to realisation with technical and project delivery teams. Carolyn's most memorable projects include Goya And Munch: Modern Prophecies for Munch Museet in Oslo; Life Of Pi with Sheffield Theatres & Simon Friend Entertainment created for West End, Boston A.R.T, Broadway, the UK Tour and beyond, for which she was awarded a Tony in 2023 & nominated for an Olivier in 2022; The Commonwealth Games 2022 Opening Ceremony performed at Alexander Stadium, Birmingham; The Nightwatchman by Prasanna Puwanarajah, a one-woman show with Stephanie Street for the National Theatre; Jean Michel Basquiat: King Pleasure exhibition shown in NYC & Los Angeles; Ness a geo-located audio experience based on Robert McFarlane's poetical work. Most recently, Carolyn has enjoyed collaborating on Mark Ravenhill's new play Ben & Imo at The Swan Theatre, RSC.

When Saved was banned in 1965 by the Lord Chamberlain's office, the Royal Court theatre turned itself into a private club to allow performances of Edward Bond's drama to be staged. This may be the most famous incident in the career of the playwright, who has died aged 89, but he was the author of over 50 plays, including several written for young people to perform, and others designed for broadcast on BBC Radio and he also worked on film scripts, wrote poems and long prefaces to his works. Joining Matthew Sweet to discuss his life and writing are the playwright Mark Ravenhill, actor Kenneth Cranham who starred in a 1969 production of Saved, Jen Harvie who is a Professor of Contemporary Drama at Queen Mary, London, Tony Coult, a writer and teacher of drama who has run Edward Bond's website for the past five years and written introductions to his play texts, and Claudette Bryanston, who commissioned The Children for a performance in a local Cambridge school with teenagers acting alongside adults. Producer: Robyn Read

Kate Molleson talks to Kaouther Ben Hania about her Oscar-nominated documentary Four Daughters, which explores the impact of two sisters fleeing to join Islamic State, by bringing in actors to play them alongside the rest of their family in Tunisia. We look at two new plays about British composer Benjamin Britten and the light they shed on a life shrouded with mystery and controversy. Kate is joined by Erica Whyman, the director of Ben and Imo by Mark Ravenhill, which is on at the Royal Shakespeare Company in Stratford-upon-Avon, and also by Kevin Kelly, the writer of Turning the Screw, which I son at the King's Head Theatre in London.Plus live music from Owen Spafford and Louis Campbell, two young musicians who play with the idea of "English" folk. Their forthcoming EP, 102 Metres East, was recently recorded at Peter Gabriel's Real World Studios in less than a day.Presenter: Kate Molleson Producer Paula McGrath

Welcome to this discussing episode, where I chat with modern playwright Mark Ravenhill about early plays by unmodern playwrights. We talk about a whole host of plays, productions, inspirations, and approaches to early modern plays from the perspective of a modern one. Mark Ravenhill's latest play Ben and Imo is being produced by the RSC and will be performing at the Swan Theatre in Stratford-Upon-Avon from the 21st February to 6th April 2024 Information and tickets can be found here - https://www.rsc.org.uk/ben-and-imo Mark Ravenhill is the author of many plays, including Shopping and Fucking; Faust is Dead; Handbag; Some Explicit Polaroids; Mother Clap's Molly House; Citizenship; Pool No Water; The Cut; Shoot/Get Treasure/Repeat; Over There; The Cane. Our patrons received this episode a couple weeks early. Which is nice. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to www.patreon.com/beyondshakespeare - or if you'd like to buy us a coffee at ko-fi https://ko-fi.com/beyondshakespeare - or if you want to give us some feedback, email us at admin@beyondshakespeare.org, follow us on Twitter, Facebook & Instagram @BeyondShakes or go to our website: https://beyondshakespeare.org You can also subscribe to our YouTube channel where (most of) our exploring sessions live - https://www.youtube.com/channel/UCLa4pXxGZFwTX4QSaB5XNdQ The Beyond Shakespeare Podcast is hosted and produced by Robert Crighton.

Sometimes in order to make a piece of writing stronger you have to remove something. Whether that's a conversation between two characters, a whole scene, a whole narrative thread or maybe even a whole character. In today's episode I unpack the common piece of writing advice to ‘kill your darlings' and share some of the provocations and writing tasks that have helped me cut material from my latest draft.I speak about:- Stepping back and looking at your play as a whole rather than its individual parts.- We often default to adding something to our draft to improve it, but subtraction is just as important.- How to know when to add something and when to take something away.- When not to kill your darlings. - Why going for clarity in each moment of the script isn't the same as being vanilla.- Some prompts for cutting dialogue, cutting drama beats, cutting key events, cutting scenes, cutting narrative threads, cutting whole characters and cutting stage time.I reference:- Episode 28 ‘Character Development'- Episode 38 ‘Stay With the Story'- Mark Ravenhill's series of tweets ‘101 Notes on Playwriting'See Monument at Red Stitch Actors' Theatre!By Emily Sheehan and directed by Ella CaldwellFebruary 20 - March 10, 2024Book now: https://www.redstitch.net/monument-2024 See Frame Narrative at The Old Fitz Theatre!By Emily Sheehan and directed by Lucy ClementsMarch 8 - 30, 2024Book now: https://www.oldfitztheatre.com.au/frame-narrativeGet one-on-one support for your writing by visiting www.emilysheehan.info/dramaturgy and say hi, ask a writing question or request a podcast topic on instagram @emilysheehan__.

Glenda Jackson plays part of a love triangle in John Schlesinger's follow up to his Oscar winning Midnight Cowboy. The plot written by Penelope Gilliat centres on an artist who has relationships with a female job consultant and a male doctor. Was the 1971 film ahead of its times? Matthew Sweet re-watched it with guests including Glenda Jackson, playwright Mark Ravenhill, film historian Melanie Williams and BFI National Archive curator Simon McCallum. They discuss the different elements of the film, including the score, which features the trio Soave sia il vento from Mozart's opera Così fan tutte, the very precise decor and evocation of late '60s London and filming inside a Jewish synagogue. Glenda Jackson died in June 2023 and we are repeating this discussion to mark her death. Producer: Fiona McLean Sunday Bloody Sunday is available on Blu-ray You can find Matthew Sweet discussing other classics of British Cinema in the Free Thinking archives including British New Wave Films of the 60s - Joely Richardson and Melanie Williams evaluate the impact and legacy of Woodfall Films, the company behind Look Back in Anger, A Taste of Honey and The Loneliness of the Long Distance Runner. https://www.bbc.co.uk/programmes/b09ysnl2 An extended interview with Mike Leigh, recorded as he released his historical drama Peterloo, but also looks back at his film from 1984 Four Days in July https://www.bbc.co.uk/programmes/m0000tqw Early Cinema looks back at a pioneer of British film Robert Paul and at the work of Alice Guy https://www.bbc.co.uk/programmes/m000dy2b Philip Dodd explores the novel and film of David Storey's This Sporting Life with social historian Juliet Gardiner, journalist Rod Liddle, writer Anthony Clavane and the author's daughter Kate Storey https://www.bbc.co.uk/programmes/b09j0rt6 Samira Ahmed convenes a discussion about British Social Realism in Film https://www.bbc.co.uk/programmes/b01pz16k

Glenda Jackson (May 1936-June 2023) starred in many plays and films. One of those was Sunday Bloody Sunday where she plays part of a love triangle in John Schlesinger's follow up to his Oscar winning Midnight Cowboy. The plot written by Penelope Gilliat centres on an artist who has relationships with a female job consultant and a male doctor. Was the 1971 film ahead of its times? Matthew Sweet re-watched it with guests including Glenda Jackson, playwright Mark Ravenhill, film historian Melanie Williams and BFI National Archive curator Simon McCallum. They discuss the different elements of the film, including the score, which features the trio Soave sia il vento from Mozart's opera Così fan tutte, the very precise decor and evocation of late 60s London and filming inside a Jewish synagogue. This programme was recorded in July 2022. Producer: Fiona McLean Sunday Bloody Sunday is available on Blu-ray You can find Matthew Sweet discussing other classics of British Cinema in the Free Thinking archives including: British New Wave Films of the 60s - Joely Richardson and Melanie Williams evaluate the impact and legacy of Woodfall Films, the company behind Look Back in Anger, A Taste of Honey and The Loneliness of the Long Distance Runner. https://www.bbc.co.uk/programmes/b09ysnl2 An extended interview with Mike Leigh, recorded as he released his historical drama Peterloo, but also looks back at his film from 1984 Four Days in July https://www.bbc.co.uk/programmes/m0000tqw Early Cinema looks back at a pioneer of British film Robert Paul and at the work of Alice Guy https://www.bbc.co.uk/programmes/m000dy2b Philip Dodd explores the novel and film of David Storey's This Sporting Life with social historian Juliet Gardiner, journalist Rod Liddle, writer Anthony Clavane and the author's daughter Kate Storey https://www.bbc.co.uk/programmes/b09j0rt6 Samira Ahmed convenes a discussion about British Social Realism in Film https://www.bbc.co.uk/programmes/b01pz16k

It's episode 5! Mark Ravenhill has a chat with playwright Nina Segal. Nina is the recipient of the 2022 Playwright's Scheme Award, on attachment with the RSC and her play O, Island!, produced at the RSC in October 2022, was shortlisted for the George Devine Award. From Mark's 101 Playwriting Tips, Nina chose: #99: My definition: go through script and rewrite lines = polish. Ditto but rewrite scenes = a rewrite. Take script apart, question fundamental things about it, rebuild again from the ground up with substantial new material = a new draft. Allow for 3 – 7 drafts. Nina's Tip: You're the only person who can write the play you're going to write.

In the fourth 37 Plays podcast episode, Mark Ravenhill is joined by playwright and screenwriter Sally Abbott.  From Mark's 101 Playwriting Tips, Sally chose: #4 Try writing a draft zero/dirty draft. Let the characters say all the exposition, themes, everything they think and feel. Don't show this to anyone – even yourself ! – and then write the first draft. Sarah Kane told me she did this for Blasted. Sally's Tip: The Blank Page: ”the reason this is totally rubbish is”…  allow yourself to write all the things you don't like with your draft and allow your subconscious to start solving it.

Mark Ravenhill's guest for episode 3 is award-winning writer for stage, screen and radio, Iman Qureshi  From Mark's 101 Playwriting Tips, Iman chose: #20 To get by we develop a persona that says ‘don't hurt me – I'm so funny or clever or sensitive or special etc'. It's limiting to use playwriting as a way of continuing to project this persona. It's frightening at first but liberating to write plays from a more authentic self. Don't use writing a play as a way of building your shell. Let the play ‘be' – you should be I think a bit embarrassed that it's angrier or funnier or more or less political than you'd like people to think you are. Iman's tip: "For me, theatre is about the change of the human heart. More than anything else possibly, it's a medium that really lets you walk a mile in someone else's shoes. So when I'm approaching a play, I always have at the back of my mind whose heart do I want to change and how, and is this play currently doing that?"

In the second 37 Plays podcast episode, Mark Ravenhill is joined by playwright Sami Ibrahim.  From Mark's 101 Playwriting Tips, Sami chose #67: Most of us have years writing apprentice plays -each one like trying on a jacket. they're fine, they fit OK. Then you write a play and the jacket completely moves with you, second skin. You haven't reached the destination-the journey's begun. How I felt with Shopping and Fucking. Sami's tip: Don't second-guess your instincts or make assumptions about what a theatre wants you to write.

The first episode in the second season of 37 Plays has Mark Ravenhill joined by Olivier award winning playwright and performer Isobel McArthur. From Mark's 101 Playwriting Tips, Isobel chose: #16: Have characters say at the top of a scene who they are, where they are and what they're up to. It will push you to make these decisions. Vagueness may feel satisfyingly ambiguous but will soon lose momentum. You can make exposition more subtle in a later draft. "This one sounds like it might lead to obvious writing but rather than obvious most people start a scene vague, hedging their bets and then the scene runs out of steam." Isobel's Tip: If your scenes are feeling stilted... try disrespecting the papery document

‘Draft Zeros' ‘Discovery Drafts' ‘Dirty Drafts'... In this episode I share how writing a draft zero has really helped me move my play into its next phase of development. I think the biggest distinction between a Draft 0 and a Draft 1 is that a first draft needs to be written to a standard where someone else can respond to it. Whereas a draft zero is a way to tell yourself the story during its very infant phase.I speak about:- The difference between a draft zero and first draft.- The purpose of a draft zero.- Realising I wasn't meeting my own personal writing goals this year.- Finding a deadline that's both meaningful and manageable. - How I created a very loose structure for my play and very simple writing plan to follow.- What to do with all the initial exploratory pages, scraps of scenes, process journal entries and story work I had already created.- Using each writing session to write through the very strange, very bizarre rollercoaster of a draft zero without going back to fix, change, polish, or edit.Draft zeros are kind of like therapy - you just need to get it all out and surprise yourself with what you begin to excavate. You don't want to tidy up the mess before you get to what the heart of this thing is really about.Things I reference: Miro online whiteboard, Mark Ravenhill's 37 Plays Podcast and Episode 20 Writing the Next Thing. Thank you for listening. You can learn more about my work on my website or say hi at @emilysheehan__ on Instagram.

Glenda Jackson is the subject of a BFI season and in this film she plays part of a love triangle in John Schlesinger's follow up to his Oscar winning Midnight Cowboy. The plot written by Penelope Gilliat centres on an artist who has relationships with a female job consultant and a male doctor. Was the 1971 film ahead of its times? Matthew Sweet re-watches it with guests including Glenda Jackson, playwright Mark Ravenhill, film historian Melanie Williams and BFI National Archive curator Simon McCallum. They discuss the different elements of the film, including the score, which features the trio Soave sia il vento from Mozart's opera Così fan tutte, the very precise decor and evocation of late 60s London and filming inside a Jewish synagogue. The Glenda Jackson season runs at the BFI across July with a screening of this film on July 24th. Producer: Fiona McLean Sunday Bloody Sunday (1971) still courtesy BFI Sunday Bloody Sunday is available on Blu-ray You can find Matthew Sweet discussing other classics of British Cinema in the Free Thinking archives including: British New Wave Films of the 60s - Joely Richardson and Melanie Williams evaluate the impact and legacy of Woodfall Films, the company behind Look Back in Anger, A Taste of Honey and The Loneliness of the Long Distance Runner. https://www.bbc.co.uk/programmes/b09ysnl2 An extended interview with Mike Leigh, recorded as he released his historical drama Peterloo, but also looks back at his film from 1984 Four Days in July https://www.bbc.co.uk/programmes/m0000tqw Early Cinema looks back at a pioneer of British film Robert Paul and at the work of Alice Guy https://www.bbc.co.uk/programmes/m000dy2b Philip Dodd explores the novel and film of David Storey's This Sporting Life with social historian Juliet Gardiner, journalist Rod Liddle, writer Anthony Clavane and the author's daughter Kate Storey https://www.bbc.co.uk/programmes/b09j0rt6 Samira Ahmed convenes a discussion about British Social Realism in Film https://www.bbc.co.uk/programmes/b01pz16k

Daniel Koek is currently starring as Robin in La Bohème at the King's Head Theatre ahead of appearing in the upcoming Australian production of The Phantom of the Opera. La Bohème returns to the King's Head Theatre in a new version which relocates the story to contemporary London. Directed by Mark Ravenhill, it's described as a "contemporary queer reinvention" of Puccini's classic opera.After completing his run in La Bohème, Daniel will play the Porter and Jeweller whilst understudying The Phantom in the Australian production of The Phantom of the Opera which will play in Sydney and Melbourne. Hailing from South Australia, Daniel studied classical voice at the Conservatorium in Adelaide before moving to London to complete his Masters in Musical Theatre at the Mountview Academy. Whilst in Europe Daniel also studied in Amsterdam and sung a season with Nationale Reis Opera of the Netherlands. He is renowned for starring as Jean Valjean in the West End production of Les Miserables (Sondheim Theatre). His other credits include: Lt Cable in the Lincoln Centre production of South Pacific (UK/Australian tours), Anatoly in Chess (UK Tour) and Tony in West Side Story (UK Tour) and Father Frank in Saturday Night Fever (International Tour). Daniel has recorded two studio albums and works as a performance and vocal coach. La Bohème runs at the King's Head Theatre until 28th May 2022. Visit www.kingsheadtheatre.com for info and tickets. Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. 

In episode six of the Plays Podcast, Mark Ravenhill is joined by playwright, screenwriter, and director Chinonyerem Odimba. Chino is also the Artistic Director and Chief Executive of tiata fahodzi. From Mark's 101 Playwriting Tips, Chino chose: #12: There's something cruel about constructing a play, putting characters in situations that are everything from awkward to very painful. Don't shy from this cruelty but use it responsibly, explore all its ramifications and don't use it cynically or for effect. Chino's own tip is: “One of the things I tend to do when I'm writing a character is that I have a conversation with them…Each and every one of my characters if I can. And that conversation consists of me telling them a secret and them telling me a secret…” The music for this podcast was composed by Sarah Llewellyn.

In this episode of the 37 Plays Podcast, Mark Ravenhill is joined by Winsome Pinnock, a writer for stage, radio, film and television. From Mark's 101 Playwriting Tips, Winsome chose:  #31: ‘Show don't tell' – a red herring? From the Greek plays messenger speech on, plenty of great plays have had a lot of ‘tell'. As long as the ‘tell' changes the characters on stage and realigns the action of the play. Alternating show and tell works well. Winsome's own tip is: “In order to get to know your characters, get them to write you letters. I often have my characters write to me, and they might write about me actually…they write about my process, the discoveries I am making during the process. They'll question me and throw me challenges.” The music for this podcast was composed by Sarah Llewellyn.

INTERVIEW: MARK RAVENHILL. Mark Ravenhill exploded on to the theatre scene in 1996 at the Royal Court with his uncompromising play about young people in a materialistic world, Shopping and Fucking. Other original work followed, including Some Explicit Polaroids, Mother Clap’s Molly House and, most recently, The Cane. His version of Hitchcock’s Blackmail has just opened […]

In the fourth 37 Plays podcast episode, Mark Ravenhill is joined by James Graham, a playwright and film and television writer. From Mark's 101 Playwriting Tips, James chose: #4 Try writing a draft zero/dirty draft. Let the characters say all the exposition, themes, everything they think and feel. Don't show this to anyone – even yourself! – and then write the first draft. Sarah Kane told me she did this for Blasted. James' own tip is: The theory of bits. “Once you've written the first draft, you start to consciously or unconsciously be looking for the central moment in the character's journey or the story moment or the theme where it will emerge, and an audience will know that that's the bit.” The music for this podcast was composed by Sarah Llewellyn.

An artist murdered in his studio - the blackmailer thinks he knows who removed vital clues. This plot from Charles Bennett premiered in London's West End in 1928 and was subsequently turned into an early sound film by Alfred Hitchcock. Now playwright Mark Ravenhill has written a new version. He joins Matthew Sweet to discuss blackmail and our changing ideas about shame. New Generation Thinker and medieval historian Hetta Howes looks at ideas of shame in the middle ages, with critic and literary scholar Kaye Mitchell tracing those ideas today. Plus criminologist Paul Bleakley, who's researched the history of blackmail. Blackmail, a new version written by Mark Ravenhill and directed by Anthony Banks, runs at Mercury Theatre, Colchester in Essex from March 4th - 19th Producer: Luke Mulhall

In the third 37 Plays podcast episode, Mark Ravenhill is joined by actress, writer and jazz singer, Danusia Samal. From Mark's 101 Playwriting Tips, Danusia chose: #55: The stage is a place of questioning, realignment, transformation. Choose as your starting point nagging doubt, the question that won't leave you alone. Let the play embody, amplify your question. An acceptance of living with the irresolvable is still an ending Danusia's own tip is: “Give yourself distance from what you've written. If you get in a muddle with it, or you're constantly editing or changing or going back, you have to give yourself space from it. A few days or a week ideally. Suddenly, you'll come back with clear eyes and be able to see the play.” The music for this podcast was composed by Sarah Llewellyn.

Pages 178 - 185 │Aeolus, part V│Read by Cressida BrownCress was awarded the National Theatre Studio's Bulldog prinsep bursary in 2007. She directed Macbeth for Shakespeare and Company in 2017.Work she is most proud of includes :Amphibians by Steve Water, inspired by interviews she conducted with former Olympic swimmers about ‘legacy' in the run up to the 2012 Olympic games and staged in the derelict pool that had previously been hidden under the Bridewell Theatre stage. Walking the Tightrope: the tension between art and politics by writers including Caryl Churchill, April DeAngelis, Timberlake Wertenbaker and Mark Ravenhill about boycott and censorship, staged site-specifically in the old Guardian newspaper offices before transferring to the House of Commons and then the Underbelly. The Political History of Smack and Crack about the 1981 Moss Side riots and the heroin epidemic that then ensued under Thatcher. (Paines Plough Roundabout, Soho Theatre, UK tour of major venues and some prisons)Drawing Play a play where the audience turned up to an art masterclass armed with drawing boards and pens. They drew as well as watched, their pictures influencing the action played out before them (Yard Theatre)Septimus Bean and His Amazing Machine, where the foyer was magically transformed into a playground for the final scene (unicorn theatre)www.cressidabrown.com*Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-companySUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURESAll episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections.Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Patreon here: https://www.patreon.com/sandcoIn addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit.*Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/homeAdam Biles is Literary Director at Shakespeare and Company. Find out more about him here: https://www.adambiles.netBuy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeDr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco.Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/ See acast.com/privacy for privacy and opt-out information.

Mark Ravenhill is joined by playwright and screenwriter Hannah Khalil.  From Mark's 101 Playwriting Tips, Hannah chose: #5 For a theatre play, an hour of playing time is 9,000 to 10,000 words. Basic but no one tells you this! Think in minutes – after a thousand words, the audience are six minutes into the play. And so on. Writing a play is ‘sculpting in time'. Hannah's own tip is: “Before you start writing your play, convince yourself it will never be produced…. To tell myself that this is just for me, I can write whatever I want, and no one is going to judge me for it, allows me to be a bit freer and not worry too much about how it will be received.”

In the first 37 Plays podcast episode, Mark Ravenhill is joined by actress and writer Lolita Chakrabarti, OBE. From Mark's 101 Playwriting Tips, Lolita choses: #71: A very good playwright told me she always has the last line/image of the play first. Jealous! a play does often drive toward that last moment. Everything else is a set up for that pay off. But it takes me many drafts to get there. Lolita's own tip is: “Keep your own counsel with the first draft. Don't listen to anybody before you have processed and felt the story, imagined it, and written that first painful, painful draft. Nobody can be a voice in your head, other than your own voice.”

Mark Ravenhill has been well known as a British playwright since the 1990s, when he was a leading figure in the group of writers labelled ‘In Yer Face'. Director Hannah Price was founder and Co-Artistic Director of Theatre Uncut and a Resident Artistic Director at the Donmar Warehouse. From 1 October 2021, Mark and Hannah will take over as joint Artistic Directors of the King's Head Theatre, London's oldest pub theatre. BTG Editor David Chadderton spoke to them both about their ideas for helping people working in the industry as we come out of a global pandemic, their support for new writers and young LGBTQ+ people and how digital theatre will play an important part in their future plans.

Mark Ravenhill is one of our greatest living theatre makers. I claim this in part because of the length of his writing career, 25 years+ and still going strong, and in part because of the variety of form and type of work. His work has extended into directing and performing Mark will be co-artistic director (with Hannah Price) of the Kings Head theatre where he is outlining plans to portray stories that would fly under the rainbow flag (an allusion to multitude types of queer stories out there). Podcast notes: Mark articulates why representation now for all kinds of stories that would fly under the rainbow flag is important and sketches out his vision as co-artistic director. We discuss the differences between German and British theatre cultures. The surprising lack of influence from visual art on British theatre (compared to eg German theatre or many other kinds of theatre). The satisfaction of bringing a popular story, like David Walliams Boy in the Dress to a wider (out of London) audience. We chat about how representative (or not) theatre is touching on working class and outside of London audiences, if right wing playwrights are missing considering the British people keep returning right leaning governments; and how, of course, the landscape of public views and opinion is much more complicated than that. The importance of listening in a world where many people are defending their right to speak (and many of those defenders having never been without that right to speak) - making space to listen to other voices. Mark's curiosity and love of life-long learning and what ballet has taught him. The differences and similarities in how he approached his recent biographical work about his mother, father and himself. We play over-rated/under-rated and Mark rates: -Automatic writing -Speaking in verse all day -Dressing up or outside in techniques -Chekhov and non-English theatre -Theatre Games (Only one of these is overrated). We discuss the importance of Keith Johnston's book Improv (note my podcast with Lee Simpson also discuss Keith's work) and how Mark has used the exercises in the book. I ask Mark, what question theatre should be asking today. Mark finishes with advice to creatives on not being swayed too much by others (well-intentioned or not) advice. Transcript and video available here. Follow Mark on Twitter @markravenhill2 Follow Ben on Twitter @benyeohben

Está no ar a segunda parte de nossa conversa com o dramaturgo, crítico e pesquisador Jorge Louraço Figueira, sobre teatro de grupo, memória e os cruzamentos dramatúrgicos entre os países lusófonos dos dois lados do Atlântico. Jorge Louraço Figueira é doutorando em Estudos Artísticos na Universidade de Coimbra (bolseiro da FCT), dramaturgo residente d' O Teatrão (Coimbra), docente da ESMAE e crítico de teatro do jornal Público. É dramaturgo e escreveu Cassandra de Balaclava (Cão Danado, 2013), Teleganza (Nova Europa, 2011), Êxodos (Folias, São Paulo, 2008), Xmas qd Kiseres* (O Teatrão, 2002) e O Espantalho Teso (TNSJ, 2001); dirigiu Conta-me Como É, de Pedro Marques, Jorge Palinhos e Sandra Pinheiro (O Teatrão, 2014) e Pequena História Trágico-Marítima (TAGV, 2012); traduziu Cidadania, de Mark Ravenhill, Senti um Vazio, de Lucy Kirkwood, Onde É que Esconderam as Respostas, dos Third Angel, e Ricardo III, de Shakespeare; fez a Oficina de Escrita Teatral de A. Mercado no TNSJ, o Seminário Traverse Theatre nos Artistas Unidos, a Residência Internacional do Royal Court Theatre, e o Seminário de Escrita Teatral de J. S. Sinisterra no TNDM II; é doutorando em Estudos Artísticos na Universidade de Coimbra (bolseiro da FCT), dramaturgo residente d' O Teatrão (Coimbra), docente da ESMAE e crítico de teatro do jornal Público. O episódio foi ao ar em 20 de agosto de 2021. --- Send in a voice message: https://anchor.fm/teatrodausp/message

Jorge Louraço Figueira é dramaturgo residente d'O Teatrão (Coimbra), docente da Escola Superior de Música e Artes do Espetáculo (Porto), crítico de teatro do jornal "Público" e doutorando em estudos artísticos na Universidade de Coimbra, com bolsa da Fundação para a Ciência e a Tecnologia. Como dramaturgo, escreveu "Cassandra de Balaclava" (Cão Danado, 2013), "Teleganza" (Nova Europa, 2011), "Êxodos" (Folias, São Paulo, 2008), "Xmas qd Kiseres*" (O Teatrão, 2002) e "O Espantalho Teso" (TNSJ, 2001); dirigiu "Conta-me Como é", de Pedro Marques, Jorge Palinhos e Sandra Pinheiro (O Teatrão, 2014) e "Pequena História Trágico-Marítima" (TAGV, 2012); traduziu "Cidadania", de Mark Ravenhill, "Senti um Vazio", de Lucy Kirkwood, "Onde É que Esconderam as Respostas", dos Third Angel, e "Ricardo III", de Shakespeare; fez a Oficina de Escrita Teatral de A. Mercado no TNSJ, o Seminário Traverse Theatre nos Artistas Unidos, a Residência Internacional do Royal Court Theatre, e o Seminário de Escrita Teatral de J. S. Sinisterra no TNDM II. O episódio foi ao ar em 23 de julho de 2021. #TUSPemCasa --- Send in a voice message: https://anchor.fm/teatrodausp/message

The Oscar winning Midnight Cowboy was followed up by this drama about an artist who has relationships with a female job consultant and a male doctor. Director John Schlesinger, writer Penelope Gilliatt, actors Glenda Jackson and Peter Finch were all nominated for Academy Awards but it performed poorly at the box office. Was the film - released on July 1st 1971, ahead of its times? Matthew Sweet re-watches it with guests including Glenda Jackson, playwright Mark Ravenhill, film historian Melanie Williams and BFI archivist Simon McCallum. They discuss the different elements of the film, including the score, which features the trio Soave sia il vento from Mozart's opera Così fan tutte, the very precise decor and evocation of late '60s London and filming inside a Jewish synagogue. Producer: Fiona McLean Sunday Bloody Sunday is available on Blu-ray You can find Matthew Sweet discussing other classics of British Cinema in the Free Thinking archives including British New Wave Films of the 60s - Joely Richardson and Melanie Williams evaluate the impact and legacy of Woodfall Films, the company behind Look Back in Anger, A Taste of Honey and The Loneliness of the Long Distance Runner. https://www.bbc.co.uk/programmes/b09ysnl2 An extended interview with Mike Leigh, recorded as he released his historical drama Peterloo, but also looks back at his film from 1984 Four Days in July https://www.bbc.co.uk/programmes/m0000tqw Early Cinema looks back at a pioneer of British film Robert Paul and at the work of Alice Guy https://www.bbc.co.uk/programmes/m000dy2b Philip Dodd explores the novel and film of David Storey's This Sporting Life with social historian Juliet Gardiner, journalist Rod Liddle, writer Anthony Clavane and the author's daughter Kate Storey https://www.bbc.co.uk/programmes/b09j0rt6 Samira Ahmed convenes a discussion about British Social Realism in Film https://www.bbc.co.uk/programmes/b01pz16k

British playwright Mark Ravenhill made a huge splash in the mid-90s with his first play, Shopping and F***ing. He's since become one of the most produced writers in the UK. His recent play The Cane is on now at Melbourne's Red Stitch. Also, what does it take for an Australian to make it on Broadway? We ask Carmel Dean, a composer and musical director who spent 20 years working on huge shows. And we pay tribute to the architect Viv Fraser, designer of some of Sydney's most iconic venues.

British playwright Mark Ravenhill made a huge splash in the mid-90s with his first play, Shopping and F***ing. He's since become one of the most produced writers in the UK. His recent play The Cane is on now at Melbourne's Red Stitch. Also, what does it take for an Australian to make it on Broadway? We ask Carmel Dean, a composer and musical director who spent 20 years working on huge shows. And we pay tribute to the architect Viv Fraser, designer of some of Sydney's most iconic venues.

British playwright Mark Ravenhill made a huge splash in the mid-90s with his first play, Shopping and F***ing. He's since become one of the most produced writers in the UK. His recent play The Cane is on now at Melbourne's Red Stitch.Also, what does it take for an Australian to make it on Broadway? We ask Carmel Dean, a composer and musical director who spent 20 years working on huge shows. And we pay tribute to the architect Viv Fraser, designer of some of Sydney's most iconic venues.

Autor: Schäfer-Noske, Doris Sendung: Kultur heute Hören bis: 19.01.2038 04:14 Berichte, Meinungen, Rezensionen Die Brückenbauer - Das Montagscafé im Dresdner Kleinen Haus als Integrationsort für geflüchtete Menschen "Angela" - Ein Hörstück von Mark Ravenhill über seine an Demenz erkrankte Mutter "Send me an image" - Ausstellung in der Galerie C/O Berlin Praxistest in Tübingen - Wie funktioniert das Pilotprojekt in den Kinos? Stefan Paul, Geschäftsführer der Arsenal Kinos, im Gespräch Am Mikrofon: Doris Schäfer-Noske

The playwright Mark Ravenhill joins us to talk about his new play Angela. It is a tender portrait of his parents; his mother, Angela, who died in 2019, and of his father, Ted. Angela had dementia and the play is about the memories that make us, and how time is more fluid than we might think. Ravenhill began Angela as a play for the stage that he was going to act - and even dance - himself. But Covid restirctions made that impossible so it became an audio play, starring Pam Ferris (Harry Potter, Call the Midwife) as Angela and Toby Jones (Detectorists, Uncle Vanya ) as Ted. Melanie Abbott joins us to update on the select committee concerning the future of UK music festivals. We also hear about a test festival that took place this weekend in The Netherlands, organised by Fieldlab. The winner of the 2021 Rathbones Folio Prize is announced today and Front Row we will have the first interview.

In January 2020, BTG Editor David Chadderton spoke to Elizabeth Newman, Artistic Director of Pitlochry Festival Theatre in Scotland, about her plans for the coming year. Less than two months later, the country shut down due to the coronavirus pandemic. The season was cancelled and the future of this theatre, amongst many others around the country, looked bleak, but it continued to commission and produce new work, mostly online. A year on, and Pitlochry has announced its 70th anniversary season including its first winter ensemble, this time geared to the conditions in which they will have to work for the forseeable future. Pitlochry has also collaborated with Edinburgh’s Lyceum Theatre and Naked Productions on a new digital audio theatre platform, Sound Stage. Elizabeth speaks, in this episode, about both of these, and also about how the events of last year unfolded. The Sound Stage events so far announced will be available for just a few days at the end of each month from March to October 2021. The first, Angela by Mark Ravenhill directed by Polly Thomas, will run from 26 to 28 March and star Pam Ferris, Matti Houghton, Toby Jones, Jackson Laing and Joseph Millson. For more information about any of the events mentioned in this episode, see the Pitlochry Festival Theatre web site.

I felt it was high time to talk about men and art, acting and masculinity. In this episode my guest is John Dapolito, the Founder of Actors! Where Are You Going?, a cutting edge acting program for professional actors.John shares his personal story and how he was able to transform the void his absent father left into “becoming what he missed”. We also talk about the role of assertiveness for men and how it can blend well with kindness, support and attention.John recently penned, Ethan & Nico Go to Therapy. His other plays include: Augie's Ring (Los Angeles Times Critics Pick), An Act of Kindness (Los Angeles Times Critics Pick), Killer Midgets, and Baptism by Fire. The latter play, Baptism by Fire was produced and directed by Emmy Award Winner Michael Imperioli (Sopranos) and starred Nick Sandow (Orange is the New Black) and Vincert Curatola (Sopranos). John's screenplay When Tough Guys Were King co-authored by Dominik Tiefenthaler, and is based on the video testimonial recordings of his estranged ex-con father, August Dapolito, a native of Jersey City who struggled with heroin addiction, alcohol and prison for 25 years until he lost his life to AIDS in 1993. John is also a New York City based professional acting teacher and director. He first directed Ralph Pape's Soap Opera some twenty-five years ago, and in the spring of 2013 he directed a daring production of Neil LaBute's Romance. In 2013 he directed Brian Gianci's, Let's Kill Grandma This Christmas. In 2017 he directed the American premiere of Ghost Story by Mark Ravenhill.

Nirjay Mahindru is joined by Che Walker.Che Walker studied acting at the Webber Douglas Academy of Dramatic Art in London, and has worked with Edward Bond, Philip Ridley, Mark Ravenhill, Stellan Skarsgaard, Chris Penn and Robert David Mc Donald.His first play BEEN SO LONG premiered at the Royal Court theatre in 1998, starring Sophie Okonedo, and was runner-up for The John Whiting Award and the Meyer-Whitworth Award, and has subsequently been translated and produced worldwide.FLESHWOUND premiered at the Royal Court in 2003 and won the George Devine Award for Most Promising Playwright, and The Arts Council Young Writer of the Future Award.CRAZY LOVE was produced by Paines Plough theatre company ('a brilliant piece of dramatic poetry- the scotsman" 'brilliantly buzzy..poignant'- the guardian) and, along with it's sister piece, BURNT-UP LOVE,  won the Mark Marvin Peter Brook Award.In 2008, his play THE FRONTLINE made English Theatre history ,becoming the first contemporary-set new play to perform at Shakespeare's Globe theatre since MERRY WIVES OF WINDSOR. An enormous critical success, THE FRONTLINE was revived in 2009.His musical adaptation of his first play 'Been So Long' - a collaboration with composer Arthur Darvill, premiered at The Young Vic Theatre in 2009, before playing The Traverse Theatre in Edinburgh, and Latitude Rock Festival. 'Been So Long' was nominated for the Evening Standard Best Musical Award. Walker's former student, Naana Agyei-Ampadu was also nominated for Best Newcomer for her role as Yvonne in 'Been So Long'.He has received commissions from Regent's Park Theatre, English Touring Theatre  amongst others.  As he teacher, Che has taught acting at RADA, Arts Ed, E15, and has taught at Central, Oxford, Identity Drama School, and was Head of Drama for the Weekend Arts College for over ten years.  This interview was recorded in June 2020 during the period of the lockdown.  Support the show (https://www.interactstrokesupport.org)

This week Richard Coles and Kate Silverton are joined by Ricky Wilson, the lead singer of Kaiser Chiefs. The band’s hits include I Predict A Riot and Ruby and last year they released their seventh album, Duck. Ricky was a judge on The Voice and now presents the Pop Detectives podcast with Tony Blackburn. Jack Monroe was an unemployed single parent living in poverty when she started a blog called A Girl Called Jack which described cooking nutritious meals for her family on a tiny budget. She is now a well-known cookery writer and campaigner, whose ability to knock up delicious food with limited ingredients has come into its own during the lockdown. Sandra Palmer dreamed of being a fashion designer as a child. Her father Fritz had been a tailor in Jamaica before moving to Birmingham where he worked as a lorry driver. He would sew the dancing costumes Sandra designed as child and after Fritz died in 1999, Sandra decided to keep his legacy alive. Richard Keenan was told that he was adopted when he was nine. After training as both a priest and a police offer, he waited until he was 40 to find his birth parents. Using his police skills to track them down, Richard discovered his birth family and the surprising story of his biological parents’ relationship. And Inheritance Tracks this week from playwright Mark Ravenhill. Producer: Laura Northedge Editor: Eleanor Garland

The Theme from Chitty Chitty Bang Bang and No-one Is Alone from Into the Woods.

Lucy Kirkwood est une jeune dramaturge anglaise (née en 1984). Sa dernière pièce, NSWF (not safe for work !), a été créée au Royal Court, célèbre théâtre londonien qui a permis les créations des premières pièces de Sarah Kane ou de Mark Ravenhill. It Felt Empty When the Heart Went At First But It Is Alright Now est construite autour de la figure d'une prostituée, Dijana qui se raconte dans une chambre de passe. La pièce s'inscrit dans la veine d'écriture que la critique a désignée sous le nom générique de in-yer-face theatre — le théâtre dans ta gueule. Crédits musique : Rainman – Purple Kush [Instrumental] Matthias Pothier – Look at This Clouds [Instrumental] Jonathan Josue Monroy & Lestley Ronaldo Pierce Jr – Pretender [Instrumental] Texte : Lucy Kirkwood – Du vide quand le cœur s'arrêta — traduit de l'anglais par Eric Devanthéry et Jelena Ristic.

Rana Mitter is joined by Edith Hall, Nandini Das and Beatrice Groves to explore the books which inspired Shakespeare from the Bible and classical stories to the writing of some of Shakespeare's contemporaries. Edith Hall is Professor in the Classics Department and Centre for Hellenic Studies at King's College London. Her books include Introducing The Ancient Greeks and has co-written A People's History of Classics with Henry Stead. Nandini Das is Professor of English Literature at the University of Oxford. She is also a New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council. Beatrice Groves is Research Lecturer in Renaissance Literature at the University of Oxford and her books include Texts and Traditions: Religion in Shakespeare 1592-1604 The programme was recorded in front of an audience in BBC Radio 3's pop-up studio as part of Radio 3's Stratford residency at the Royal Shakespeare Company. Producer: Torquil MacLeod You can find a playlist of programmes exploring different aspects of Shakespeare on the Free Thinking programme website including interviews with the actors Antony Sher & Janet Suzman, writers including Jo Nesbo & Mark Ravenhill and detailed explorations of The Tempest and the Winter's Tale https://www.bbc.co.uk/programmes/p06406hm

Join Natalie Haynes and guests for half an hour of comedy and the Classics from the BBC Radio Theatre in London. Natalie is a recovering comedian who is a little bit obsessive about Ancient Greece and Rome. Each week she takes a different figure from the Ancient World and tells their story through a mix of stand-up comedy and conversation. Today she stands up in the name of playwright Euripides. Feminist, anti-war, ironic, full of subtext: his work displays strikingly modern sensibilities and his Medea still has the power to shock. With special guests playwright Mark Ravenhill and classicist Professor Edith Hall. Producer...Mary Ward-Lowery.

Lisa Dwan tells Philip Dodd what playing Beckett taught her about herself and feminism; playwright Mark Ravenhill, arts editor Jan Dalley & sp!ked author Alexander Adams discuss the proposition that the arts are increasingly expected to be uplifting and inspirational and to confirm identities. Where do the pessimism and shattered identities of Beckett's work fit into this view of culture? Beckett Triple Bill is at Jermyn Street Theatre, London until 8th February starring Lisa Dwan, Niall Buggy, James Hayes and David Threlfall. Endgame runs at the Old Vic in London until March 28th starring Daniel Radcliffe, Alan Cummings, with Rough for the Theatre II with Jane Horrocks and Karl Johnson. Culture War: Art, Identity Politics and Cultural Entryism by Alexander Adams is published by Societas Producer: Torquil MacLeod

The Boy in the Dress is a major new musical at the RSC in Stratford based on the book by David Walliams, with songs by Robbie Williams and Guy Chambers, a script by Mark Ravenhill and directed by Gregory Doran. With such a pedigree will it match the success of Matilda? Nick Ahad reviews. The Turner Prize is one of the biggest art prizes in the UK and offers £25,000 to its winner. Front Row goes to the Turner Contemporary in Margate where the Turner Prize exhibition is hosted this year to meet the nominees – Tai Shani, Laurence Abu Hamdan, Oscar Murillo and Helen Cammock - ahead of the winner announcement on the 3rd December. The Radio 4 Christmas Appeal with St Martin in the Fields will be launched on Sunday 1 December. This year, the fundraising gala at St Martin’s will include a performance of The First Nowell by Vaughan Williams with Radio 4 presenters, featuring a modified libretto by Zeb Soanes. He and Em Marshall-Luck, Founder-Director of The English Music Festival and former Chairman of the Vaughan Williams Society, discuss the delights of this rarely performed seasonal work. Presenter: Stig Abell Producer: Sarah Johnson

Stig Abell talks to John Godber, one of the most-performed playwrights in the English language and somebody who has been interpreting the city of Hull in his plays for over thirty years, from Bouncers to Up and Under. His latest work This Isn’t Right tells the story of Holly Parker who is rediscovering Hull after three years at University in London. When a young woman disappears her already over-protective Dad goes into over-drive. Earlier this year the poet and performer Zena Edwards wore a grass coat to Tate Modern to mark the launch of a movement drawing attention to climate change - Culture Declares An Emergency. For Contains Strong Language she’s performing a newly commissioned piece called Rallying Cry. She'll perform and talk to Stig Abell about putting the joy into the poetry of protest. We'll hear a world premiere performance of a Jodie Langford poem specially commissioned by BBC Humberside. She's a rising star of the spoken word scene and one of 12 poets chosen by BBC local radio stations to “challenge the outdated clichés and celebrate all that is regionally distinctive about the North”. And playwright Mark Ravenhill on translating Bertholt Brecht's The Mother with original score by Hanns Eisler which will be recorded at the festival for broadcast on BBC Radio 3. Maxine Peake plays Pelagea Vlassova, the woman who acts to protect her son from prison and becomes an accidental revolutionary. Presenter Stig Abell Producer Olive Clancy

As part of a series of reflections about organs of the human body, playwright Mark Ravenhill asks whether his identity has changed since his gall bladder was removed.

UNE is full of creative and talented students. Lucky for us we had some of them in the studio! Jake chats to director Tyrone and fellow actor Elias as they pimp out the Friends of Theatre Society's latest production, (you guessed it!) Some Explicit Polaroids, written by Mark Ravenhill.

A stifling culture of safety is now spreading throughout Western academic institutions leading to a crisis in mental health, according to the social psychologist Jonathan Haidt. He tells Amol Rajan that the current obsession with ‘safe spaces’ and no-platforming, is not only a breach of freedom of speech, but is creating a generation unable to cope with modern life. But the commentator Yasmin Alibhai-Brown argues that free speech has often been used as a justification to spout hate speech and prejudice. She defends political correctness as a means to build a safer, more compassionate world. The writer Olivia Sudjic made her name after the publication of her debut novel Sympathy which explored surveillance and identity in the internet age. But as she became the focus of attention she felt trapped in a spiral of self-doubt. She looks at the epidemic of anxiety among the so-called ‘snowflake’ generation. Changing attitudes are at the heart of Mark Ravenhill’s new play, The Cane. Should a well-respected teacher be punished retrospectively for past actions which are now deemed unacceptable, but few questioned at the time? Producer: Katy Hickman

News of National Theatre's new season featuring Cate Blanchett, Nicola Walker in new Mark Ravenhill play at Royal Court, a review of Florian Zeller's new play The Height Of The Storm starring Jonathan Pryce and Eileen Atkins (confusing but moving), and this week's top five openings including a new play by Martin McDonagh starring Jim Broadbent  

Norwegian crime writer Jo Nesbø on his novel based on Macbeth; playwright Mark Ravenhill on why the play rarely works on stage, James Shapiro on the contemporary events which shaped it and Emma Whipday on the elements that Shakespeare borrowed from 16th century domestic dramas. Plus Ellah Wakatama Allfrey on rereading Chinua Achebe's 1958 novel and the echoes of Macbeth she found there. Presented by Shahidha BariA 60th anniversary reading of Things Fall Apart, by Chinua Achebe and abridged by Ellah Wakatama Allfrey, Publishing Director at The Indigo Press, is taking place at London's Southbank Centre in the Queen Elizabeth Hall on April 15th, with readers including Lucian Msamati, Chibundu Onuzo, Margaret Busby and Olu Jacobs. Jo Nesbø's Macbeth is published now and the plot summary reads: When a drug bust turns into a bloodbath it's up to Inspector Macbeth and his team to clean up the mess. He's also an ex-drug addict with a troubled past.Macbeth - starring Rory Kinnear and Anne-Marie Duff - is on stage at London's National Theatre until June 23rd and will be broadcast live to cinemas on 10 May. It's also at the RSC in Stratford-upon-Avon - starring Christopher Eccleston and Niamh Cusack - until September 18th and will transfer to London between Oct 15th and Jan 18th 2019. Mark Bruce Company are on tour with their dance-theatre version visiting Ipswich, Blackpool, Exeter, Salisbury and Milton Keynes. Macbeth directed by Kit Monkman is in cinemas around the UK. Producer: Torquil MacLeod.

Oprah Winfrey, Reese Witherspoon and Mindy Kayling star as deities who are millions of years old in the £108m mega-budget film: A Wrinkle In Time. It's a story which mixes physics, time travel, female empowerment, and bullying at school. Does the presence of Oprah et al make it divine or dreadful? The Great Wave is a new play by Japanese Ulsterman Francis Turnly about the kidnapping in the 1970s of Japanese citizens by the North Korean authorities. Some returned, others were (and maybe still are) held by their captors. It's running at The Dorfman at London's National Theatre, Philip Hensher's latest novel The Friendly Ones follows two contemporaneous storylines about 2 families; one British, the other Bangladeshi. Come Home on BBC1 is a new drama about a family break-up told from different sides of the story. It's written by Danny Brocklehurst and features Christopher Eccleston as the dad, Greg America's Cool Modernism at Oxford's Ashmolean looks at art from the US from O'Keeffe to Hopper; before the word 'cool' was synonymous with 'groovy' Tom Sutcliffe's guests are Mark Ravenhill, Deborah Orr and Amanda Craig . The producer is Oliver Jones.

As dramas about John Knox and Galileo open at theatres in Edinburgh and London, Philip Dodd talks to Fiona Shaw and Mark Ravenhill about performing and staging Brecht and to Edinburgh Lyceum director David Greig. He's also joined by 2017 New Generation Thinker Joanne Paul, from the University of Sussex, who researches the idea of parrhesia or 'speaking truth to power'. And satirist Nev Fountain and stand-up comedian Simon Evans discuss whether comedy is still an effective weapon with which to attack the powerful.Bertold Brecht's Life of Galileo directed by Joe Wright in a translation by John Willlett runs at the Young Vic Theatre in London from May 6th - July 1st. Glory on Earth runs at the Royal Lyceum Edinburgh from May 20th to June 10th. Written by Linda McLean the drama is directed by David Greig and stars Jamie Sives. New Generation Thinkers is a scheme run by the BBC with the Arts and Humanities Research Council to work with academics to turn their research into radio and television. You can find more broadcasts and films on the Free Thinking website. Producer: Torquil MacLeod

Michael Berkeley talks to the director Thomas Ostermeier about his musical passions. Thomas is the outstanding German theatre director of his generation, known for his gritty realism, and for working with a close and consistent ensemble of actors. He's been a champion of young British playwrights such as Sarah Kane and Mark Ravenhill, as well as a radical interpreter of the classics. In 1999 - at the age of only 32 - Thomas was made Director at Berlin's prestigious Schaubühne Theatre, and his productions are staged and celebrated world-wide. He was awarded a Golden Lion for Lifetime Achievement at the 2011 Venice Biennale. In London he's developed a close and productive relationship with The Barbican. No one who has seen it will ever forget his celebrated production of Hamlet, a truly visceral experience, with blood, drunkenness and actors rolling around in - and even eating - the soil that covered the stage. Thomas chooses music by 20th-century composers including Shostakovich, Bartok, John Adams, and John Cage and he talks to Michael about his passion for Shakespeare, how he chooses music for his productions, and how difficult it is to get his actors to keep their clothes on. Producer: Jane Greenwood A Loftus production for BBC Radio 3.

Griff Rhys Jones plays the title rol in a freely adapted production of Moliere's The Miser Personal Shopper stars Kristen Stewart as a young woman trying to communicate with her dead twin brother beyond the veil President Abraham Lincoln never overcame his grief at the death of his son Willie and American novelist George Saunders has written Lincoln In The Bardo which explores how he tried to cope An exhibition of works by Michelangelo & Sebastiano at London's National Gallery explores the two artists mutually supportive and inspiring relationship Simon Amstell has created Carnage, a mockumentary from the future looking at the rise of veganism. Tom Sutcliffe's guests are Mark Ravenhill, Rosie Boycott and Melissa Harrison. The producer is Oliver Jones.

Join the fantastic-transatlantic-LAMDA-trained crew of Emily Ota, Samantha Blinn, Will McKay, Robyn Hoedemaker, Zoë Goslin, John MacCormick, Sam Jenkins-Shaw, Bathsheba Piepe, Sally O' Leary & Ariana Karp as we dive into the murky depths of the world of John Webster. Ariana gives us the history and dramaturgy around James I, John Webster and Jacobean cultural history. To put this into perspective, Shakespeare's plays could be divided into his "Elizabethan" and "Jacobean" eras. Some of Shakespeare's Jacobean plays are: Macbeth, Othello, King Lear, Measure for Measure, Coriolanus, Winter's Tale among others. The verse structure becomes more complicated, more rhythmic irregularities. Emily gives us the thematic breakdown of Jacobean plays, delving into the meta-theatrical, visceral, messy, dirty, passionate, madness, murder, chaos and cannibalism of these crazy plays! The group then discusses their experience with the play and traces the line of Jacobean tragedy and violence thru to the explosively violent British playwrights of the 90s like Sarah Kane and Mark Ravenhill. Portrait of Giovanna d'Aragona, attributed to the workshop of Raphael. (The real life inspiration of the Duchess of Malfi)

Mariella Frostrup talks to award winning novelist Caryl Phillips whose new novel recalls Wuthering Heights and Mark Ravenhill and Richard T Kelly on a Reader's Guide to Kafka.

David Chisholm is the mastermind behind the hard to pigeon-hole 2015 Adelaide Festival experience The Experiment. Based on Mark Ravenhill's short play of the same name, The Experiment is musical, darkly theatrical, and highly innovative. After interesting reviews in Sydney, David chats about the work, growing work, and how he responds to reviews.

Ian McEwan's new novel The Children Act deals with a young man who is suffering from leukaemia and the conflict between his parent's wishes and the authority of the State in the form of a high court judge. Little Revolution is a play by Alecky Blythe concerning the London riots of 2011 using a script drawn from verbatim interviews Watermark is a film by photographer Edward Burtynsky about the world's most precious resource: H2O. There's a finite amount and it's getting more and more difficult to protect and access. Secrets, a new mini drama series on BBC1 begins with a play starring Olivia Colman and Alison Steadman about a mother who discovers she's dying of cancer and her relationship with her daughter. Bernd and Hilla Becher were a German husband and wife photographic duo who specialised in impartial pictures of industrial structures - conventionally unpretty but given a formalist beauty Tom Sutcliffe's guests are Mark Ravenhill, Liz Jensen and Kamila Shamsie. The producer is Oliver Jones.

With John Wilson, who reviews Luc Bresson's new action thriller Lucy, which stars Scarlett Johansson and Morgan Freeman. John talks to Irish actor Lisa Dwan about performing Beckett's play Not I with just her mouth visible, and discusses creating new tv quiz shows with BBC's Richard Osman and Channel 4's Justin Gorman. Plus Mark Ravenhill on taking the voice of Alan Turing as part of Talking Statues initiative, where 35 statues in London and Manchester will tell their own stories. Presenter : John Wilson Producer : Dymphna Flynn.

The 1985 pairing of the Sixth Doctor and Peri Brown are pitched into four Doctor Who adventures in the latest Big Finish release. Here we get a glimpse behind the scenes...

Mark Lawson turns Quizmaster to test the cultural knowledge of two teams in the Front Row Quiz of the Year. Singer and performer Jackie Clune and playwright Mark Ravenhill are led by writer and Booker judge Natalie Haynes. They are competing against actress and writer Helen Lederer and Citizen Khan creator and star Adil Ray, under the captaincy of crime writer Mark Billingham. Questions cover a wide range of the year's events, including Doctor Who's 50th birthday; best-selling autobiographies, with extracts disguised by actor in residence Ewan Bailey; and a mathematical puzzle based around the compositions of Wagner, Britten and Verdi. Producer Claire Bartleet.

Harriett Gilbert talks to playwright Mark Ravenhill and DJ Nihal Arthanayake about the books they love, including American Tabloid by James Ellroy, July's People by Nadine Gordimer and Elective Affinities by JW Goethe. Produced Beth O'Dea

Pod Academy's Daniel Marc Janes speaks to playwright and academic Dan Rebellato, Professor of Contemporary Theatre at Royal Holloway and one of Britain’s leading theatrical commentators. Daniel Marc Janes: I’m in the Calder Theatre Bookshop in London. It couldn’t be better located to evoke Britain’s theatrical heritage, situated as it is on The Cut alongside the Old Vic and the Young Vic. Looking at the bookshop’s selection, I can see plays from some of the most distinguished British playwrights of recent years. Here’s David Greig... Sarah Kane... Dennis Kelly... Mark Ravenhill. What all these writers have in common is that they all studied drama at the university level. But drama at the university is a recent innovation. Many of Britain’s most brilliant playwrights have been autodidacts: Tom Stoppard, George Bernard Shaw, William Shakespeare. So why study drama? I’m in the downstairs rehearsal space of the Calder Theatre Bookshop. This is a place where writers and performers go to make plays come alive. But how far can the inscrutable, mysterious act of playwriting be taught in an academic environment? What is the role of drama in the university? To talk about these topics, I’m joined by Dan Rebellato, Professor of Contemporary Theatre at Royal Holloway, author of numerous stage and radio plays and of several books, most notably 1956 And All That: The Making of Modern British Theatre. Professor Rebellato, thank you for joining us. Dan Rebellato: Thanks very much. DMJ: So before we start to unpack the broader questions, I’m wondering whether you could outline for us a kind of potted history of drama as an academic discipline in the British university. DR: There are lots of examples, of course, of theatre being made in universities and that goes back centuries, but drama as an academic discipline really starts in the late 1940s at the University of Bristol. Oxford University, during the war, set up a commission to see if drama was a suitable subject for the universities and it was a very ramshackle affair. They booked the wrong flights and they lost their luggage and they ended up with half the amount of time they were supposed to have. And they recommended that you shouldn’t do drama at the university. But the University of Bristol decided that it was a good subject and that was the first degree – I think that started in about 1947, 1948, something like that – and the big waves of expansion followed from there. Manchester, Hull was quite early, but the 1970s had a lot of expansion and the 1990s saw another big wave of expansion as well. DMJ: But what’s interesting is that drama, as an academic course outside of English, took some time to be accepted. Even at Bristol it took them 21 years for drama to be a full honours degree. You mentioned the committee at Oxford; Oxford and Cambridge stopped short of having full honours drama courses. Where do you think that this lack of acceptance comes from? DR: A lot of things that I think are interesting about the theatre are the reasons why it can sometimes be a difficult subject in the academy. Because it’s neither purely literary, nor is it purely a live experience. It’s a kind of mixture of the two. I think that in academic terms – of course there are certain kinds of theatre that are, in a sense, purely live and also purely literary – but also I think there’s a sense in which theatre is clearly a collection of different crafts and skills, because you have scenic designers and you have actors and you have directors and you have writers and composers and so on and so on. That maps on in the academy into the fact that it’s a very interdisciplinary subject. So in order to fully – if you could ever fully understand theatre – you’d have to be a bit of a linguist, a bit of a philosopher, a bit of a psychologist, a bit of an archaeologist and so on and so on and so on. And the question is left: if you took those things away,

Libby Purves meets playwright Mark Ravenhill; former nun turned midwife Eleanor Stewart; spoon maker Barnaby Carder and photographer Stuart Griffiths Playwright and writer in residence at the RSC, Mark Ravenhill has written a new version of Voltaire's classic novel Candide. Ravenhill describes his new play as a response to Voltaire's tale rather than a straight adaptation. Featuring a character called the Dramatist, based on himself, Ravenhill asks the question: Is it possible to be an optimist in today's world? Candide is at the Swan Theatre, Stratford-upon-Avon. Eleanor Stewart is a former novice nun who became a midwife. At 18 she began her religious training in France in the early 1960s, leaving behind family and friends in the grip of Beatlemania. After a brief stint as a teacher, she found her vocation in nursing, eventually leaving the convent to become a midwife. She tells her story in Kicking the Habit - From Convent to Casualty in 1960s Liverpool, published by Lion Hudson. Barnaby Carder, known as Barn The Spoon, makes wooden spoons which he sells in his East London shop. After being apprenticed to a furniture maker, he spent three years travelling around forests - sleeping among the trees and carving spoons from their wood. A passionate advocate for the beauty of spoons and the craft of wood carving, he named his shop after himself - Barn the Spoon. Stuart Griffiths is a photographer, writer and lecturer. He began using a camera while serving in the Parachute Regiment in Northern Ireland during the late 80s and early 90s. With his instamatic camera, he documented the everyday reality of the war he experienced - violent riots, the aftermath of bombings and shootings and the gallows humour among soldiers. His book Pigs' Disco is published by Ditto Press. Producer: Paula McGinley.

Mark Ravenhill chooses Casanova, Dennis Potter's first TV serial. Plus archive BBC interviews with and about Dennis Potter. Go to Front Row's Cultural Exchange website for full details.

With Mark Lawson. Helena Bonham Carter and Dominic West star as the ultimate celebrity couple, Elizabeth Taylor and Richard Burton, in a new BBC Drama written by William Ivory. Focusing on the period when they appeared together on Broadway in Noel Coward's Private Lives, Burton and Taylor imagines the complex relationship between the ex-husband and wife. Linda Grant reviews. Writer Denise Mina has received the Theakstons Old Peculier crime novel award, for the second year running. Her winning novel, For Gods and Beasts, weaves together three stories of Glasgow's criminal underworld. She explains why she had to re-write it over a weekend and reveals the flaws in her books. Director Noah Baumbach discusses Frances Ha, his acclaimed black and white drama about the misadventures of a twentysomething dancer, played by co-writer Greta Gerwig. He also reveals what his parents thought of his break-through film, The Squid And The Whale, which was inspired by the fall-out from their divorce For Cultural Exchange, dramatis Mark Ravenhill chooses Casanova, the first television series from Dennis Potter, starring Frank Finley as Casanova. Producer Nicki Paxman.

Matthew Sweet is joined by writer, Mark Ravenhill and literary critic, Sos Eltis to consider Steven Soderbergh's film - Behind the Candelabra. They'll also discuss what it adds to our understanding of "camp" and its part in contemporary culture. Art historian T J Clark, talks about his latest book, Picasso and Truth. The aim, he says, is to sweep away the tittle tattle which so often passes for Picasso criticism so that we can get a clear view of the artist's achievement. New Generation Thinker Fern Riddell examines female political violence in Edwardian Britain.

Matthew Sweet is on stage at the Theatre Royal Stratford East for a post-performance discussion of The Octoroon, by Dion Boucicault, which can be heard on Sunday 5 May 2013 on Drama on 3. To discuss the enduring appeal and legacy of the play, Matthew Sweet is joined by playwright Mark Ravenhill, who adapted the play for Radio 3; the cultural commentator Kit Davis; the Victorian theatre expert Anne Varty; and two of the cast members, Amaka Okafor and Golden Globe nominee Toby Jones. As the play's attitudes reflect the time in which it is set, this edition contains some language now regarded as racist.

On Start the Week Tom Sutcliffe discusses the 'myth' of progress with James Lasdun, Mary Beard, Mark Ravenhill and John Gray. The poet and novelist James Lasdun talks about his experience of being cyber-stalked and the terrifying opportunities new technology offers. Mary Beard looks back to classical times to see how far the relationship between persecutor and persecuted have changed. Playwright Mark Ravenhill discusses his comic reworking of Voltaire's 'Candide'. But is everything in the 21st century still for 'the best in the best of all possible worlds?' John Gray argues that ethical progress in human civilisation is easily reversible and yet people need to believe in myths to shape their lives and give them meaning. Producer: Natalia Fernandez.

BAFTA award winner Ben Affleck discusses his film Argo; Singer Tracey Thorne discusses her autobigraphy and theatre director Marianne Elliott on why she's not quite ready to run the National Theatre. Actor David Oyelowo on working with Nicole Kidman and playwright Mark Ravenhill on writing and long distance running. And Daniel Kleinman, the man who gives the credit to James Bond

Mark Ravenhill on translating Bertolt Brecht's A Life of Galileo; the value of the mundane is discussed; and is the way in which today's corporations are run now obsolete?

With Mark Lawson. The artist Marcel Duchamp is the focus of a new exhibition at the Barbican, London. The Bride and the Bachelors explores his influence on four great modern masters - composer John Cage, choreographer Merce Cunningham, and visual artists Robert Rauschenberg and Jasper Johns. Critic Jackie Wullschlager reviews the exhibition and discusses Duchamp's role in contemporary art. Spooks star David Oyelowo returns to undercover duty in a new one-off TV drama Complicit. Oyelowo plays Edward, an MI5 officer doggedly on the trail of a suspected terrorist he believes is plotting an atrocity in the UK. On the line from Los Angeles, David Oyelowo discusses the appeal of drama based on the secret service. While his translation of Brecht's A Life of Galileo opens at the RSC, playwright Mark Ravenhill is training for this year's London Marathon. Mark Lawson puts on his running shoes and joins Ravenhill at an early morning training session. While on the move, Ravenhill explains the parallels between acting and running, and why the Pope's surprise resignation is perfect timing for the production. And in the week when it was announced that the TV drama The Hour would not be returning for a third series, leaving Freddie's fate undecided, ex-EastEnders supremo and TV producer Mal Young discusses the thorny subject of unresolved cliffhangers. Producer Jerome Weatherald.

With John Wilson. Booker Prize-winning writer James Kelman (How Late It Was, How Late) discusses his new novel Mo Said She Was Quirky, a story which explores fear, trust, and relationships through the eyes of a woman who worries about everything. Seth MacFarlane is best known as the creative force behind the TV cartoon series Family Guy. Ted, his first live-action feature film, stars Mark Wahlberg as a 35 year old man with a boozing, swearing teddy bear. Seth himself provides the voice of Ted. Laroushka Ivan-Zadeh reviews. The RSC's new Troilus and Cressida is a collaboration with the New York experimental theatre company The Wooster Group. The two companies have been rehearsing separately: Mark Ravenhill directs the Stratford team who play the Greeks, and Elizabeth LeCompte directs the Americans who play the Trojans. John meets them both in rehearsal, to discuss the art of creating one show involving two companies with very different approaches. To mark the Olympics, the BBC - in partnership with The Scottish Poetry Library in Edinburgh - has selected and recorded a poem representing every country taking part. Each is read by a native of that country who lives here in Britain. Every night during the Olympics, Front Row features one of the poems. Producer Ella-Mai Robey.

With John Wilson. Last year on Front Row poetry publisher William Sieghart announced that a line from Alfred Tennyson's Ulysses would be displayed prominently on a wall in the London Olympic Village. Now the wall, which is part of the Winning Words poetry project, has been finished. John visits the Olympic Park with William Sieghart and artistic commissioner Sarah Weir as they see the completed wall for the first time. On Shakespeare's birthday, Front Row focuses on his sonnets. Now in its second year, tonight's World Book Night sees 2.5 million books given away as part of an international initiative to encourage people to make reading a part of their lives, including prisons, hospitals and homeless shelters. Each of the books in the UK will include a Shakespeare sonnet, selected by poet Don Paterson. He and writer Meg Rosoff discuss how the sonnets fit with the chosen titles. Playwright Mark Ravenhill reads his new sonnet, commissioned by the RSC, to celebrate Shakespeare's birthday and the official opening of the World Shakespeare festival. He also discusses the challenges of writing it. Naomi Alderman reviews the week's big multiplex release, Marvel Avengers Assemble, starring Robert Downey Jr, Scarlett Johansson and Mark Ruffalo. Producer Jerome Weatherald.

With Mark Lawson, John Adams' controversial opera The Death of Klinghoffer, based on the true story of a hijacked cruise liner in 1985, has just had its first performance at English National Opera in a new production directed by Tom Morris, co-creator of the National Theatre's adaptation of War Horse. Sarah Crompton gives her response to the first night. Award-winning comedian Sarah Millican discusses moving her comedy from the stage to the TV screen, and also reflects on her row with a fan who recorded one of her shows on a mobile phone. In the new comedy film Wanderlust, Jennifer Aniston and Paul Rudd play an over-stressed couple who leave the pressures of Manhattan to join a freewheeling community where the only rule is 'to be yourself'. Antonia Quirke reviews. Radio 4 is inviting you to nominate New Elizabethans - people who have made an impact on the UK from 1952 to today. This week Front Row is asking writers and artists for their suggestions, and tonight playwright Mark Ravenhill nominates a pioneering theatre director. Producer Claire Bartleet.

Ravenhill is a British playwright, actor and journalist best known for the plays Shopping & F***ing, Some Explicit Polaroids, and Mother Clapp’s Molly House.

Mark Ravenhill is a British playwright, actor and journalist best known for the plays Shopping & F***ing, Some Explicit Polaroids, and Mother Clapp’s Molly House. In 2008, the Royal Court, the Gate Theatre, the National Theatre, Out of Joint, and Paines Plough collectively staged the 17 plays in his Shoot/Get Treasure/Repeat. He made his acting debut at the Edinburgh Festival Fringe in 2005, performing his own monologue, Product. Educated at Bristol University, Mr. Ravenhill is a frequent contributor to the arts section of the Guardian.

Ravenhill is a British playwright, actor and journalist best known for the plays Shopping & F***ing, Some Explicit Polaroids, and Mother Clapp’s Molly House.

Tracy Letts, author of "Superior Donuts" and "August: Osage County" (for which he won a Tony Award in 2008), talks about writing Donuts as his first "Chicago" play in homage to his adopted home city. He also discusses his childhood with his mother and father, college professors who would forge second careers as novelist and actor respectively; his own dual career as actor and playwright and why he won't appear in one of his own plays; the impact of joining Chicago's famed Steppenwolf Company; how his early plays Killer Joe and Bug, and their reception in England, included him in part of a mini-movement that included Mark Ravenhill and Sarah Kane; what he thinks of the film version of Bug; how much of August: Osage County is based on his family's own history; why he creates characters who have difficulty articulating their thoughts and feelings -- including the hyper-articulate ones; and whether after the avalanche of publicity in the wake of August's international success, he thinks he has anything left to say.

"Superior Donuts" and "August: Osage County" playwright Tracy Letts. talks about writing "Donuts" as his first "Chicago" play in homage to his adopted home city. He also discusses his childhood with his mother and father, college professors who would forge second careers as novelist and actor respectively; his own dual career as actor and playwright and why he won't appear in one of his own plays; the impact of joining Chicago's famed Steppenwolf Company; how his early plays "Killer Joe" and "Bug", and their reception in England, included him in part of a mini-movement that included Mark Ravenhill and Sarah Kane; what he thinks of the film version of "Bug"; how much of "August: Osage County" is based on his family's own history; why he creates characters who have difficulty articulating their thoughts and feelings -- including the hyper-articulate ones; and whether after the avalanche of publicity in the wake of "August"'s international success, he thinks he has anything left to say. Original air date - November 2, 2009.

"Superior Donuts" and "August: Osage County" playwright Tracy Letts. talks about writing "Donuts" as his first "Chicago" play in homage to his adopted home city. He also discusses his childhood with his mother and father, college professors who would forge second careers as novelist and actor respectively; his own dual career as actor and playwright and why he won't appear in one of his own plays; the impact of joining Chicago's famed Steppenwolf Company; how his early plays "Killer Joe" and "Bug", and their reception in England, included him in part of a mini-movement that included Mark Ravenhill and Sarah Kane; what he thinks of the film version of "Bug"; how much of "August: Osage County" is based on his family's own history; why he creates characters who have difficulty articulating their thoughts and feelings -- including the hyper-articulate ones; and whether after the avalanche of publicity in the wake of "August"'s international success, he thinks he has anything left to say. Original air date - November 2, 2009.

Shopping and Fucking Rehearsal Footage 2007 A clip from the dress rehearsal of the Crescent Theatre’s 2007 production of Mark Ravenhill’s Shopping and Fucking. Content © Copyright Crescent Theatre Company 2007.