Podcast appearances and mentions of Sarah Kane

Le metteur en scène Ludovic Lagarde met en scène le texte du dramaturge Martin Crimp Des hommes endormis. Une pièce à voir à l'Athénée jusqu'au 24 mai.  Amour, boulot, pouvoir, désir : deux couples tâtonnent, tentent de faire le point, pour se dire… ou ne pas se dire des choses, le temps d'une nuit, une nuit propice à la parole et à la divagation.  Le texte de Crimp est fait de conversations, un peu hachées, un peu fragmentaires, où l'exploration du thème de la violence n'est jamais loin. La pièce démarre à deux heures du matin : Paul, qui crée de la danse, et Julia, critique d'art contemporain. Ce couple de quinquagénaires sans enfants mais qui a réussi socialement s'interroge sur son avenir quand surviennent Joséphine – assistante de Julia – et Tilman, jeune couple, futurs parents, invités par Julia. Invités : Ludovic Lagarde, metteur en scène. Il a mis en scène de nombreux auteurs du répertoire – Shakespeare, Tchékhov, Brecht –, mais aussi des auteurs plus contemporains tels que Samuel Beckett, Harold Pinter, Sarah Kane ou encore Olivier Cadiot avec lequel il a beaucoup collaboré. Il met en scène Des hommes endormis.  Laurent Poitrenaux, comédien. Il travaille avec Ludovic Lagarde depuis près de 40 ans. Il joue le rôle de Paul dans la pièce.  Le texte Des hommes endormis a été écrit par Martin Crimp, un auteur britannnique contemporain né en 1956. Dans ses textes, il aborde, avec un humour grinçant, la question de la violence. Il est l'un des auteurs de théâtre vivants parmi les plus importants. La pièce Des hommes endormis a été créé en 2018 pour la troupe du Deutsche Schauspielhaus à Hambourg. Le texte a été traduit en français par Alice Zeniter, qui a consacré sa thèse à l'auteur britannique et publié aux éditions de l'Arche.  À voir au Théâtre de l'Athénée-Louis Jouvet jusqu'au 24 mai.  Programmation musicale : L'artiste Ofé et son titre Je sais que tu m'aimes.

Le metteur en scène Ludovic Lagarde met en scène le texte du dramaturge Martin Crimp Des hommes endormis. Une pièce à voir à l'Athénée jusqu'au 24 mai.  Amour, boulot, pouvoir, désir : deux couples tâtonnent, tentent de faire le point, pour se dire… ou ne pas se dire des choses, le temps d'une nuit, une nuit propice à la parole et à la divagation.  Le texte de Crimp est fait de conversations, un peu hachées, un peu fragmentaires, où l'exploration du thème de la violence n'est jamais loin. La pièce démarre à deux heures du matin : Paul, qui crée de la danse, et Julia, critique d'art contemporain. Ce couple de quinquagénaires sans enfants mais qui a réussi socialement s'interroge sur son avenir quand surviennent Joséphine – assistante de Julia – et Tilman, jeune couple, futurs parents, invités par Julia. Invités : Ludovic Lagarde, metteur en scène. Il a mis en scène de nombreux auteurs du répertoire – Shakespeare, Tchékhov, Brecht –, mais aussi des auteurs plus contemporains tels que Samuel Beckett, Harold Pinter, Sarah Kane ou encore Olivier Cadiot avec lequel il a beaucoup collaboré. Il met en scène Des hommes endormis.  Laurent Poitrenaux, comédien. Il travaille avec Ludovic Lagarde depuis près de 40 ans. Il joue le rôle de Paul dans la pièce.  Le texte Des hommes endormis a été écrit par Martin Crimp, un auteur britannnique contemporain né en 1956. Dans ses textes, il aborde, avec un humour grinçant, la question de la violence. Il est l'un des auteurs de théâtre vivants parmi les plus importants. La pièce Des hommes endormis a été créé en 2018 pour la troupe du Deutsche Schauspielhaus à Hambourg. Le texte a été traduit en français par Alice Zeniter, qui a consacré sa thèse à l'auteur britannique et publié aux éditions de l'Arche.  À voir au Théâtre de l'Athénée-Louis Jouvet jusqu'au 24 mai.  Programmation musicale : L'artiste Ofé et son titre Je sais que tu m'aimes.

On this episode of White Coat Radio, we're joined by two specialty pharmacists making an impact in Tennessee. Dr. Tabitha Sineath ('24), an ETSU Bill Gatton College of Pharmacy alumna who earned both her PharmD and MBA through the college's dual degree program, now serves as Lead Pharmacist at Walgreens Specialty Pharmacy in Nashville, where she is the Clinical Lead for Transplant and Chronic Inflammatory Conditions. She is joined by Dr. Katie Cox, who manages Walgreens Specialty Pharmacy in Knoxville. Together, they share insights into careers in specialty pharmacy, their work in women's health, and the real-world applications of their training.  Full transcript: Tabitha Sineath Because you take back bits and pieces from every experience, whether that be as a student on rotations to your first job or what you ultimately grow into. It's the bits and pieces that you know as part of your experience that truly kind of define you over time. So don't. My advice to students is don't give up on that and continue to kind of seek those out because you know in your heart where your passion lies, you have to make the pathway. Michele Williams Welcome to White Coat Radio, a podcast from East Tennessee State University. Bill Gatton College of Pharmacy in Johnson City, Tennessee. Each episode, we cover a wide range of topics about the pharmacy school experience, from study tips to deep dives with faculty and student pharmacists. I'm one of your hosts, Doctor Michelle Williams, assistant professor and director of academic success. Stephen Woodward And I'm Stephen Woodward, marketing and communications manager. Today we welcome Doctor Tabitha Sign at the 2024 alumna from Gatton, who, in addition to earning her PharmD, also completed our dual degree program to earn a master of Business Administration while she was here. That prepared her to now serve as leave pharmacist at the Walgreens Specialty Pharmacy in Nashville, Tennessee, where she is a clinical lead for transplant and chronic inflammatory conditions. Stephen Woodward But today, we have not one but two specialty pharmacies joining us. Doctor Katie Cox, who manages Walgreens specialty Pharmacy in Knoxville, also stopped by. Let's hear from them now. Doctor Cox, doctor Sineath welcome to White Coat Radio. Thank you all for coming out today. Katie Cox Thank you for having you. Stephen Woodward Can you start by telling us about your roles at Walgreens and where you work? Katie Cox Yeah. Tabitha Sineath So I am, lead pharmacist at our specialty site in Nashville. And, oversee primarily our transplant in chronic inflammatory condition patients. Stephen Woodward Okay. Katie Cox So I work at Walgreens as well. I manage the, specialty pharmacy structure at Walgreens is a little bit different. I mean, it's the site that's in Knoxville. And, what's called registered manager, local specialty. So I'm over the whole site. I'll own kind of your accreditation and specific accreditation, not just for specialty pharmacies, but it does apply, within the specialty pharmacy field. Katie Cox Then there's an M.O., which is a pharmacy manager, and what we traditionally think of as a pharmacy manager. And then they're all kind of structured differently, which is what I love about specialties. It's like each side is a snowflake. It looks a little bit different. So the Nashville site has care. Teams are a little bit larger site. We are a newer site. Katie Cox I launched our site in 2023. And then we've got five pharmacists now, but we don't have a specific care team, so we kind of all share and own the disease state since we've structured a little bit differently than Nashville. Tabitha Sineath Yeah. And we talk about care teams a little bit. That's just kind of a delineation of what type of disease state we're managing. So in in Nashville, we're a little more bucketed. We have a virology and oncology pharmacist who oversees those patients, neurology, who oversees, like migraine and seizures. And, I oversee chronic inflammatory in our transplant, which includes not only solid organ but stem cell. Tabitha Sineath And we have a unique partnership with Sarah Kane and clinic across the street, as part of the tri star network, to help those patients. And then we have a lot of miscellaneous specialty that kind of filters in, that don't really fit nicely into a bucket. So that's kind of where we all cross-train and help out. Stephen Woodward Okay, cool. Thank you. Michele Williams Yeah, that sounds great. So can can each of you tell us a little bit about what led you to specialty pharmacy? What it is about your your background, your work experiences, those kinds of things. And, Tabitha, if we could start with you, that would be good. Sure. Tabitha Sineath I started out, as a pharmacy technician for Walgreens, many years ago. I'm not going to say save a year, but, a few decades back, and, my path has not been linear in that sense. But I advance kind of to the top of my level as a technician and wanted to go back into pharmacy to get my pharmacy. Tabitha Sineath And always had been that drive in that pull for me. And finally just took the dive. But I think the catalyst for me was more of like a personal experience that led me to specialty. When I was trying to start our family and a lot of family planning, we realized that we would need a lot of additional help. Tabitha Sineath So in terms of, fertility specialty, we had to go through in vitro fertilization. And with that came a lot of specialty medications that, there was not great education around. And these are really expensive medications. And I, I said to myself, you know, there's got to be a better way to handle this for patients. And so that was really my draw to say, you know, this is this is my niche. 00;05;24;09 - 00;05;31;21 Tabitha Sineath This is where my passion lies. And that's really what I want to do. I want to help those patients, and have great outcomes. Michele Williams That's wonderful. Yeah. Katie Cox So, I also have a very nontraditional path towards pharmacy. When I was in undergrad, I studied chemistry and biochemistry, and I did research for the government on, carbon nanotube technology. I went to medical school, and I got, my medical doctorate, and then I had some health issues, and was trying to figure out how to restructure balanced life. Katie Cox For someone who is a high achiever, that can't work less than 120%, and we give you a lot of leeway for the optimal work life balance. I did not know I would have the additional years that I got so thrilled and pharmacy kind of looked like a great career to dovetail my chemistry biochemistry interest, along with what I had learned in medicine. Katie Cox And so, I finished pharmacy school and I went and graduated in 2016, and I started in, management. So I started out as a staff pharmacist, was not there very long and then started managing. I mean, it's 5 or 6 different sites, kind of jokingly say I was like the cleaner where they would send me to a pharmacy that maybe needed to implement better workflow or had some structure issues, or maybe had lost a really good leader and was trying to kind of figure out how to get back to where they were. Katie Cox And so I would kind of get us realigned and going well. And then specialty pharmacy, which I think is a great topic to talk about because I think a lot of times when you think of Walgreens, you don't necessarily think of specialty pharmacy. But it is a huge section of Walgreens. And I even when I started working for Walgreens, I did not know that we had specialty pharmacies. Katie Cox At that time, there was not one in Knoxville on the closest ones were either Nashville or Bristol, Kingsport. And so I took the opportunity to go and shadow at those sites and kind of see what it looked like. And it was a really great niche sort of space and community where you still do a lot of clinical work. Katie Cox And have long term interactions with your patients. I similarly had a fertility journey when my husband, we were trying to have our daughter and so helping patients navigate some of the fertility and understanding how much of the communication gets dropped off between the patient walking out of the physician's office and then coming into the pharmacy or getting the medications, and how probably a lot of the issues with our health care system are kind of this lack of continuity of care or like regular check ins with the same person who knows your history. Katie Cox And so I feel like specialty pharmacy fits so great into that space. And it's kind of under utilized in some capacities for patients both with billing access and then like long term management. And so I always like to include to you, like when I talk to students, they say, well what is specialty pharmacy like? Why is it special? Katie Cox And I kind of always joke, you know, it's it's an interesting and really great question to ask because there's not technically a specific definition of specialty pharmacy. Right. Medicare, Medicaid, our two biggest payers don't actually define specialty pharmacy, which kind of means that it ends up being defined by third party payers in some capacity, by manufacturers and access points and by some capacity, because there's drugs that are limited distribution drug, you can only get certain places. Katie Cox But a really good point like definition would be highly expensive, medications or medications that potentially would have chronic issues or adverse events that could occur because of the conditions that we're managing would make it more difficult to distinguish between like maybe an adverse event versus something that's happening with like multiple comorbidities. So it helps with tracking for data. Katie Cox So we learned in school, you know, about the four phases of studying drugs. And so I'll always talk about specialty pharmacy really fits into that post-marketing phase of study. And so always ask my students like how how did you decide. We tell patients 5% of patients have migraines, right? It probably wasn't the thousand patients we looked at in phase three is probably when it hit the market. Katie Cox And we were looking at phase four. Where do we where does that data come from? Right. And so specialty pharmacies usually provide data points. That go towards far more manufacturers and really also help us as pharmacists or clinicians tell patients about what to expect with the medications. But a lot of that is related to the adverse event reporting that we do. Katie Cox So we do track patients very much long term, talk to them on every refill, track adherence, track side effects, and then report that back so that that data can be used to help, you know, benefit patients in the future. And so it's really helpful. So you're kind of participating in the research around drug habit in specialty pharmacy, whether you recognize it or not, because there's so much data reporting that we do within the pharmacy industry, which is helpful in the long term for us to determine which patients should be optimally on that therapy, especially if it's an orphan drug or an unusual one that's going to have a small patient population using it. Katie Cox How do we get enough data to make that tractable for us to make better decisions in the future, when we're setting up guidelines or taking care of patients? Michele Williams I hadn't realized, although. Yeah. Stephen Woodward What does this what does your sites look like physically? Are they like the Walgreens on the corner, or does it look like something else? Tabitha Sineath Yeah, they're I mean, they're open door. So it's not, closed door pharmacy. We have patients that can come in and fill antibiotics if they want to. But primarily we serve more like a mail order type facility. Okay. Probably 95% of everything that we do goes out the door via Fedex. And that's just our courier that that we use. Tabitha Sineath But everything is communicated with those patients and, basically effectively shipped, so. Okay. But yeah, we have patients that walk in, in Nashville, we are situated very close to Vanderbilt University. So we have a lot of students that, even though there are two community sites that kind of flank us on either side, patients tend to find us either via walking route or some other way, but typically, our sites don't appear like a normal Walgreens, so you may pass it or you may just not even notice it in general, it's kind of very indiscreet. Stephen Woodward Okay. Tabitha Sineath And we don't have the big neon out front. And, you know, we always try to tell patients that are coming in to pick up either because of, you know, a delay. They don't want to wait for overnight delivery. I want to get started on therapy immediately. They're welcome to come in and pick that up, and we'll make those arrangements. Tabitha Sineath But we always for that visit. This is not your run of the mill big box. Stephen Woodward Yeah, I want to yeah. Katie Cox There's two. So there's two flavors of Walgreens specialty pharmacies. There's health systems and then there's community based. So health systems, what it sounds like do you located within the health system, usually inside a hospital. So within Tennessee we have one at Bristol. So the Bristol Regional Medical Center and then we have one in Kingsport. Those are both inside a hospital. Katie Cox Otherwise they're most often close to a campus, except for my site, which was the first or site in the company where a pharmacist flipped a retail site to a specialty site. So most specialty sites are built organically because the the structure inside the building looks different. I started with what was called a Cooper site, which was an ideal Walgreens had, where a lot of the, the, profit is made in the pharmacy. Katie Cox So it was a shrunken front end with a pharmacy and the main portion of it. And so we ended up converting that. So so what did we do? We gutted the front. So when you walk in. So ours is located in the strip mall, you'll notice, a lot of the community, specialty sites are located in the strip mall. Katie Cox And they'll say it'll say Walgreens Specialty pharmacy. But when patients walk in is when they notice a difference. So they might say, oh, Walgreens on the swing in here. And then they walk in and go, where's where's all your stuff, you know, and no, we have no friends. There's nothing. So there's just a counter. And then it's like, oh, I'm sorry, we only have like prescription medications here for you. Katie Cox And we do about the bulk of what we do. We also originally had a drive thru. We would close to that drive thru because, an a hole tell students when you come in and when you go to a normal retail site, where's the hustle and bustle? It's in the fill zone, right? Like if we're filling, we're checking prescriptions. Katie Cox We're counting at the window. When you're in a specialty site, the bulk of what we're seeing, the stress to you is a phone list that you're doing. And so you're going to see way more desks. You're going to see way more people on the phone. There's still patient interactions. It just looks a little bit different. And so anytime someone's been a traditional Walgreens pharmacist and they come to Cross-train in specialty, we kind of joke within the first hour, really high level, community pharmacists will go, oh, I see my skill set does not necessarily apply here because I'm used to the workflow structure being so different. Katie Cox And so it looks a lot different. So I always tell people, if you I hope you really enjoy talking to patients and having longer conversations, because that's kind of what we do here. And spend a good bit of time in doing a consultation with the patients. So before we dispense a drug, we do what's called an initial. Katie Cox And you may be on the phone with a patient for 30, 45 minutes, you know, very extensive discussions around the medications and what it might look like. And like we talked about before, continuity of care. Sometimes we're the first person really having a conversation with the patient about the diagnosis that they may have received. We have just found out I have multiple sclerosis. Katie Cox I've just found out that I've got Parkinson's. I've just found out I have cancer, you know, and now I'm talking to you all trying to navigate the drug aspect of this. And you're telling me very large numbers and lots of side effects, right. And so sometimes we call it kind of like a, we jokingly call it can like the specialty come down like you come in on the phone and then at the end we hope that you feel like, oh, I now understand a little bit of what I'm what I'm about to do and have some ownership in the process, being the patient in this and not feeling like I'm just kind of Katie Cox getting subjected to a lot of information and not knowing how to take like actionable next steps on it. And so example of that would be in specialty, which I think is a little bit different than a retail pharmacy is. We set a goal with the patient for every drug. And so how do we decide that that's the drug's working for you as an effective is it not effective. Katie Cox What does that look like? You know, we might have drugs that are very specific, like, oh, we're going to see a lowering of this lab, but you're not going to feel different versus another drug that might be, hey, this drug only allows you to live to a life of that. Right? So that's a good example I give to my students all the time, is that's a really specific drug that maybe we want a lot of adverse event data on, because while the drug is designed to let you live a little bit longer, unfortunately the condition that you have, most likely you will pass away when you're on this medication. Katie Cox So we want to make sure to tell them exactly specific of what to expect, what, how many days we think we're going to get and set a realistic and like logical goal for the patient. So maybe for a long drug, it might be I want to be able to play on Saturday when my grandkids come over, a lot of our pulmonary drugs, it's, my laundry room is downstairs. Katie Cox I can't do my laundry because I get out of breath. I have to sit down for an hour. So I want to be able to go down and come back up. And so I think it's really helpful in creating conversations for patients to determine, like, how do I decide this is going well, and then how do I use it appropriately to try to get the results that I'm talking to you guys about that are possible. Katie Cox And then even more so, maybe setting realistic expectations, right? Sometimes we feel like, particularly in this day and age, that we might have a cure all with a medication, and being able to set realistic expectations like, hey, this drug is going to help, with your liver, liver fibrosis, but we're also going to have to do like diet and exercise for you to achieve the goals that we're talking about and things like that. Katie Cox So that I feel like they really understand the process and can define what good would look like and how that might be different between different patients. Michele Williams That's very cool. So it's like really, really specific patient counseling relationships, talking about how the medication is really to a very specific degree. Katie Cox And then kind of gauging it based on the individual. Right. Something that we don't always in a lot of health care settings have the time to do. And that's one of the things I like about specialty pharmacy is you kind of have unlimited time. So I always joke to to my students, I'm like, it's like something so fantastic is something so terrifying, right? Katie Cox So somebody might go, oh my gosh, I can sit on the phone as long as I want. That sounds fantastic. And another person might go, oh, it sounds terrible. You know, I don't know where it's going to end. Right. And so it's like we're yeah, figuring out how to optimize it for what you feel like and how you want to be a pharmacist. Katie Cox And and that's one of the beautiful things about specialties. I feel like, like especially at a site like in Nashville, where you've been established for a really long time, you've got a lot of varied pharmacist roles at your site, and you can kind of gauge based on some of these goals and like what makes them happy at work, where you're going to pocket them for how much interaction they have with with patients and counseling versus leading to a team members versus, you know, like compounding or. Katie Cox Right. So you know, it's a beautiful profession because you can decide exactly what makes you happy during the day and then cater the role towards what you would you would want to get out of the day. Tabitha Sineath And there's so much variability even to between our care teams. I mean, I think the skill set for virology and oncology is very different from, say, miscellaneous specialty or somebody who's doing, a cardiac medication. And then we have, you know, non non-sterile, compounding that, we also do and we ship to ten different states. So with our site, we're dealing with patients from Maryland to Ohio to North Carolina. Tabitha Sineath I mean, it just varies all the way down to the south, Louisiana and Mississippi and Georgia. So our patients truly are all over, and really, I think you kind of hit on that. The beauty of what we do is the relationship building, because that in a sense, not only gets patients access, but it gets them engaged not only in their care, but also kind of what that outcome for them looks like. Tabitha Sineath And we can partner that with a lot of resources that we have the time and the functionality to do. And some of that is like the financial aspect because these medications are crazy expensive. Some of our neurology medications are about $100,000. Our, you know, hepatitis C treatment. You're looking at anywhere from 30 to 90,000, depending on which avenue in which vein we go down. Tabitha Sineath So, you know, in terms of like the payor aspect, you have to have great control, which is why access as many times is restricted just as specialty because of payers are going to be investing in that medication for that patient. They want to make sure that their outcomes are positive. So we do a lot of education and a lot of resource, facilitation with those patients to make sure that, you know, my goal is for them to walk out with zero. Tabitha Sineath So there's no out-of-pocket expenses to them. And we have access to grants and different foundations that can also kind of help funnel and provide those resources to make that happen. So when you talk to a patient who, you know, has a make applied prescription, that's $100,000, Tabitha Sineath That financial burden down to zero. I mean, that's that's the difference between, in some cases, life or death for these patients. Wow. Michele Williams So, thinking about our current students here again, what what sort of advice would you give? Student pharmacist who would be interested in going into specialty pharmacy? Tabitha Sineath I always say, if you can shadow get your foot in the door. Certainly work as a technician. Work in the field. That's going to give you the best access. You not only find out, is this really where you want to be? Because that's the most and part, the most important part of it. Nobody wants to, you know, show up day in and day out. Tabitha Sineath If that's not where your passion lies. Yeah. So finding that niche I think early on, is really helpful. But a lot of that begins with the proactive nature of that student. And then you have to step out of your comfort zone and say, this is something I'm interested in. How can I help facilitate that? You should network this around you. Tabitha Sineath Talk to people who are in that field. You know, we all have we all have connections. So it's really kind of navigating who, you know, and, drawing those, those webs together. Katie Cox You know, I get asked this question a lot by my students, and it's evolved over the last decade of me being a pharmacist. So I think when I was a newer pharmacist, I used to give the advice of like find a really good. And it's still not wrong advice. It's just evolved a little bit. I think in the beginning it was fun, a really good mentor and and make sure that you're like, find somebody who you feel like optimized in their career the way that you want to be, and then ask those questions and figure it out. Katie Cox And I think as I've been in the profession and trained a lot of students, I precept for for schools, I've recognized maybe two, just like how I define that for them, because we don't do a fantastic job in grad school, we're very focused on like making sure we enter the profession well, right. We're going to be good professionals. Katie Cox We want to learn what we have. And I kind of joke like we have we're really good at herd mentality, right? Like you're joining the profession of pharmacy, right? We're all joining this together. But self-awareness and like an individualized approach to your career is a trickier thing. And it makes sense because that's how we kind of do education. Katie Cox But I think a different way of saying find a good mentor is doing what you would like to in your career is saying find out, like become more self-aware of what makes you happy. So I always tell students when you're on rotations, and I know, you know, I always ask them their biggest fears to not like great on rotation around, but typically ask the question that I don't know the answer to. Katie Cox Well, let me tell you, you're going to get asked a question that you don't know the answer to. Precept. Every month I've teed you up so that I can teach you with the question. Right? So get over that hurdle and start thinking about what days when you're on rotations, do you leave and think, because we all have a day at work out where you leave and you're like, oh, I picked the right job. Katie Cox I'm so happy. I love what I do. This is a great day. And then equanimity of life, right? There's another day where you leave and you think, oh, oh shit, that's something else. I wish I'd opened that little shop I should have, like, learn how to do interior design. So you like, you know, it's like equanimity, right? It's both of those days. Katie Cox But I think there's if you can track like some trends to that, especially on rotation. That's the idea of rotations, right? The joke at school was always the moment you felt comfortable with where you were going, was the moment you were going to stop going there. Right about week 3 or 4, you start getting comfortable. You love the team you're with and and boom, it's like, oh, 48 hours later, you get to go on and like learn how to like adjust another month. Katie Cox That's a really great life skill to build on. And then recognizing when you're on those rotations, when you love the day or hate the day, what was it? Was it what you did? Was it who you were with? Was it your schedule? Was it the environment? You know, and then figuring out when with self-awareness like what that looks like, which is really hard with how we do grad school. Katie Cox Right? Like I joke, when I have most students, especially when I have a couple of them, I'll say before you make a decision, what do you do? Right? What do you do? You call your friend and you go, hey, I was thinking about doing this. Tabitha, what do you think about me doing this? You think I should do this? Katie Cox You think you should do this rotation? Do you think I should go and do this internship? You think I should take this job, right? We vet it from someone else. But. So I'll give the example. We have five girlfriends that all are pharmacists. We all have different jobs, we all live in different states and we all have different personalities. Katie Cox And so we all, so we have one who works at Kaiser Permanente. She's an inpatient doing it there. I have one who worked in a nonprofit HIV community clinic, that helps patients there. I have, me that means in a specialty pharmacy, I have someone else who manages a retail site. And we all have equal complaints because work is work, right? Katie Cox It's not one or the other, but we all have different personalities. So one of us loves talking to patients all day. Wonderful. One of us is like, no, I'm good on that. I'd like to lead over here in the office and not do that right. And she loves that. Right. And so I think sometimes we lose that in school, a little bit of of utilizing the APIs to learn about ourselves we get so stressed about like especially here at Gatton, like you're good, you're going to pass for that. Katie Cox Like you're going, you're going to be a pharmacist. So focus on being your happiest and best self and then figuring out how to use those APIs to figure out what is your best day look like. And then how do I figure out how to create a career for myself where I have the best day? And so I always tell my students, I'm like, I'm sure anyone can think of that one disgruntled person, right? Katie Cox He's like, well, I can't believe you went to pharmacy school, which I went through here, you know, waste your time. But it's probably not because of pharmacy, right? It's probably because they're not optimized to like, their self-awareness or their happiness. And so figuring that out early on and and then the other thing that I think is a really great piece of advice is careers aren't where they used to be. Katie Cox This is in the 40s and 50s where you picked your job, and that first job is the job you retired from, right? Like, you can move around in your career. And while change is hard for us as humans, I think it's great to be able to explore. So you're just looking for your first job, right? And then figuring out what you use that to leverage to the next. Katie Cox I'm actually my first job as a staff pharmacist, and I became a manager. Then I managed a bigger pharmacy. Then I decided I wanted to do specialty pharmacy. Now I manage a specialty pharmacy, and I'm hoping to launch that into managing more specialty pharmacies over different states. But so what's that next growth moment and like space moment for you and then figuring out how to optimize it for you as an individual. Katie Cox Instead of feeling like you need to fit yourself into the career of pharmacy. Tabitha Sineath I think those breadcrumbs along the way to kind of help like define what that pathway looks like, because you take big bits and pieces from every experience, whether that be as a student on rotations to your first job or what you ultimately grow into. It's the bits and pieces that you know as part of your experience that truly kind of define you over time. Tabitha Sineath So don't. My advice to students is don't give up on that and continue to kind of seek those out because you know in your heart where your passion lies, you have to make the pathway, but you have to be proactive about it. Katie Cox Yeah, I think when I was younger, I thought lifelong learner meant drugs. And now I'm like, no, no, no. It means so much more than that. It's not just the knowledge for like what you're doing in your work, but it's also like lifelong learner about myself, about my profession, about how to interact with patients and engage them and advocate for them and give them agency and what that looks like. Katie Cox And it changes over time as you change, but like recognizing that so that you don't get in there in a rut and think, well, I'm not happy now when I was well, you've evolved, you know, evolve your profession with you and you'll always be happy. Michele Williams That's such great advice. Yeah, that's really good advice. Stephen Woodward We've we really appreciate you all being here. I think that was a great note to end on. But, thank you all and hope to see you again soon. Katie Cox Absolutely. Thank you. Tabitha Sineath All. Thanks. Stephen Woodward Thanks for listening to White Coat Radio. If you haven't already, be sure to subscribe and leave this review. To learn more about ETSU Bill Gatton College of Pharmacy, visit us at ETSU.edu slash pharmacy or follow us on social media at ETSUpharmacy. We'll see you next time.  

The West Country girls unite to discuss, not just accents, but life, Catholicism, movement, sensuality, sea swimming, acting school, parenting….and yes, even more than that!It's a conversation full of very personal experiences, and how Sarah's life has led her to a place today, where she's observing her emotions through her body and tuning into life through the eyes of a child.Sarah Fyson, a somatic coach and yoga teacher, as you'll hear, was drawn to music, movement and creativity from a young age. Dance was her first love, playing the piano and sea swimming and went on to pursue performing arts and acting.Photo Credit: Lizzie ChurchillOn exploring parenting Sarah shares how this has been one of her biggest teachers'it's probably been my biggest learning, is to not berate myself'and on acting Phaedra in Sarah Kane's Phaedra's Love it evoked a part of Sarah she hadn't explored.'It was to really bring out my kind of sensual, sexual side. And for me, that was quite unsafe.'We think you'll leave this conversation understanding how somatics, and being in the body can inform our growth and healing, but also how we all find our way through life, by listening and responding to what presents itself.If, after listening, you're interested in ‘Unbound' her 9 month somatic transformation for women course, where you get to rewire fear into confidence, self worth and decisive action, you can book a call with her directly. Soulhubbers Podcast Sponsorship~ Supporting a soulful, human-centred movement“Sponsorship” can sound a bit grand. What we're really inviting is conscious support.If you listen to the Soulhubbers Podcast and find that it informs, lightens, or inspires something in you and you feel others would benefit too. This is an invitation to help us grow.Your support allows us to keep developing the podcast: refining our presenting skills, improving recording and production quality, expanding our reach, and ultimately making inspirational and transformational stories accessible to more people around the world.Rather than pursuing large corporate sponsors, we're choosing a more aligned path. In true Soulhub style, we want to collaborate with individuals and small independent businesses. our “Community Sponsors”, who share similar values and would genuinely appreciate meaningful exposure and connection, not just advertising space.Sponsorship optionsWe currently offer two simple, affordable ways to support the podcast while gaining long-term visibility to a growing global audience. As listeners continue to discover both new and archived episodes, your support continues to be heard.* £99 per episode* £999 for a block of 10 episodesThis won't be a corny or scripted promotion. Instead, we'll acknowledge and honour you in a way that feels authentic and aligned. That might be a spoken mention, a well-wishing, inclusion in episode graphics, or even dedicating an episode to someone special.If this resonates for you or your business, please email Carmen to explore sponsorship.And if you're not in a position to sponsor, we would just deeply appreciate you sharing the episodes that inspired you. We've reached over 6,250 downloads so far, and every listen fuels our motivation to keep creating for the benefit of all. Get full access to Sole to Soul Inspiration by Soulhub at soulhub.substack.com/subscribe

OH DEAR // Rencontre avec Vanasay Khamphommala, traductrice de la nouvelle édition de la pièce de théâtre, MANQUE (CRAVE) de Sarah Kane, publiée par L'Arche éditrice.comment dire te communiquer un peu de cet / immortel inconditionnel universel débordant transcendant amour qui me remplit le cœur m' élargit l' âme continue toujours et ne s'arrête jamais que j'ai pour toi.Puissant quatuor érotique, Manque est une quête poétique où mémoire et oubli se rencontrent pour mettre au monde une sensualité nouvelle. Des cendres d'un monde anéanti par la violence intime, familiale, sociale, collective, quatre voix émergent, et s'efforcent de réinventer un lien, une langue commune, guidées par une soif désespérée d'amour. Quatre lettres ou vies ou tensions vers l'au-delà, qui déploient leurs obsessions entre passions et dépression.Avec Manque, Sarah Kane opère un virage radical dans son écriture. Elle la porte au point de fusion poétique où les voix et les corps tout à la fois se détruisent, se réinventent et se transcendent, et où la langue même devient le théâtre du désir.Les RECO de Vanasay Khamphommala :Lapsus Chevelü | Vanasay Khamphommala ❤ direction artistique ❤ Kelly Angevine ❤ administrationSes publications : Vanasay KhamphommalaLa pièce de théâtre à ne pas manquer : Œdipe roi de Sophocle, Eddy D'Aranjo, Eddy D'Aranjo, Odéon Théâtre de l'Europe | ARTCENA____Le Festival d'amour se déroule en février chaque année à L'Affranchie librairie, retrouvez les épisodes des précédentes éditions sur L'Affranchie podcast. L'identité graphique du Festival est réalisée par Chien Fou, l'habillage sonore par Pierre-Antoine Naline.Portrait ©René de Sens & Mamana.Saison #6 : Univers graphique : Mirion Malle | Habillage sonore : Pierre-Antoine Naline, accompagné de la chorale Dònas d'Òlt d'après le chant La Rota composé par Nadèta Carita | À la conversation et à la réalisation : Soazic Courbet. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Ajda Smrekar je trenutno najbolj zasedena gledališka in filmska igralka, te dni jo lahko gledamo tudi v poetičnem spektaklu Orfej in Evridika na odru Gallusove dvorane Cankarjevega doma, v režiji Jana Krmelja, po besedilu Urše Majcen in glasbeni partituri Saša Vollmaierja ter številnih sodelujočih. Ajda Smrekar nastopa kar v treh vlogah: pisateljice Virginije Woolf, pesnice Sylvije Plath in dramatičarke Sarah Kane. Ajda Smrekar igra tudi eno od glavnih vlog v hrvaškem celovečernem otroškem filmu Bučko, ki bo v kratkem doživel premiero v Zagrebu.

Theatre and opera director Katie Mitchell talks to John Wilson about her career and formative influences. She is renowned for her experimental storytelling on stage, her feminist perspective, and for contemporary reframing of classic plays, she has directed more than 100 productions over more than 30 years. She has worked at the Royal Shakespeare Company, the Royal Opera House and the National Theatre, where - as associate director - she staged bold new versions of work by a wide range of writers including Aeschylus, Virginia Woolf, Chekhov and Sarah Kane. For many theatre goers, she is one of Britain's most important and innovative living directors.Producer: Edwina Pitman

A peça “The Brotherhood”, da encenadora brasileira Carolina Bianchi, foi apresentada em Paris, no final de Novembro, no âmbito do Festival de Outono. Este é o segundo capítulo de uma trilogia teatral em torno dos feminicídios e violências sexuais e mostra como uma inquebrantável força masculina tem dominado a história da arte e do teatro, engendrando simultaneamente violência e amor quase incondicional pelos “grandes génios”. “The Brotherhood” é o segundo capítulo de uma obra sísmica, uma trilogia teatral em torno da violência contra as mulheres em que Carolina Bianchi e a sua companhia Cara de Cavalo mostram como o misterioso poder das alianças masculinas tem dominado a história da arte, do teatro e das próprias mulheres. Em 2023, no Festival de Avignon, a encenadora, actriz e escritora brasileira quebrou fronteiras e despertou o teatro europeu para a sua obra com o primeiro capítulo da trilogia “Cadela Força”, intitulado “A Noiva e o Boa Noite Cinderela”. Nessa peça, arrastava o público para o inferno dos feminicídios e violações, a partir da sua própria história, e ingeria a droga da violação, ficando inconsciente durante grande parte do espectáculo. Agora, em “The Brotherhood”, Carolina Bianchi volta a trazer consigo as 500 páginas da sua tese e expõe incontáveis histórias de violência contra as mulheres, glorificadas por Shakespeare, Tchekhov e também tantos dramaturgos e encenadores contemporâneos. Ao mesmo tempo que questiona toda a complexidade que gera a deificação dos “génios” masculinos na história da arte e no teatro, Carolina Bianchi demonstra, com brilhantes laivos de ironia, que os deuses têm pés de barro e que as musas têm uma espada numa mão, mas também uma mão atrás das costas porque - como ela - têm um amor incondicional pelos “mestres”. Este segundo capítulo volta a abrir com uma citação de “A Divina Comédia” de Dante, situando-nos no purgatório e antecipando o inferno. Talvez por isso, uma das primeiras questões colocadas pela actriz-escritora-encenadora é “o que fazemos com esse corpo que sobrevive a um estupro?”, a essa “morte em vida que é um estupro”? O teatro de Carolina Bianchi ajuda a pensar o impensável ao nomear a violência e ao apontar todos os paradoxos intrínsecos ao teatro e à arte: afinal, não é o próprio teatro quem perpetua a “brotherhood”, esse tal sistema que se autoalimenta de impunidade e violência, mas que também se mantém porque “somos todos brotherhood”? Em “A Noiva e o Boa Noite Cinderela”, a principal inspiração de Carolina Bianchi era a artista italiana Pippa Bacca, violada e assassinada. Em “The Brotherhood”, é a poetisa Sarah Kane quem mais a inspira pelo seu amor à poesia e à própria violência. Quase como uma fatalidade, Carolina recorda que Sarah Kane dizia que “não há amor sem violência”. Uma violência que atravessa toda a peça, como um tornado, porque “a violência é uma questão infinita para mim” - explica a encenadora à RFI. Resta saber quanto tempo as placas tectónicas da “brotherhood” no teatro vão conseguir resistir ao tornado Carolina Bianchi.   “The Brotherhood” foi apresentado no Festival de Outono de Paris, de 19 a 28 de Novembro, na Grande Halle de La Villette, onde conversámos com a artista.                                        “O que significa situar-se no teatro depois de voltar do inferno?” RFI: O que é “The Brotherhood” e porque é que lhe consagrou a segunda parte da trilogia “Cadela Força”? Carolina Bianchi, Autora de “The Brotherhood”: “‘Brotherhood' vem de uma expressão da Rita Segato, que é uma antropóloga argentina, que quando eu estava estudando para o primeiro capítulo ‘A Noiva e o Boa Noite Cinderela', eu cheguei a essa nomenclatura. Ela diz ‘brotherhood' para essa essa fraternidade entre homens, em que o estupro é parte de uma linguagem, de uma língua falada entre esses pares. Então, ela coloca o estupro como algo que é uma questão da linguagem com que essa fraternidade conversa, é uma consequência dessa conversa e isso para mim foi muito interessante de pensar porque tem esses aspectos dessa protecção. Fazer parte dessa fraternidade tem coisas maravilhosas e tem coisas terríveis e também acho que o espectáculo revela isso. Essa fraternidade é extremamente nociva, extremamente daninha para os membros dessa fraternidade também, para aqueles que são excluídos da fraternidade, e para aqueles que também fazem parte ela pode ser muito cruel. Acho que a peça busca trazer essa complexidade, é uma situação complexa de como olhar para esse amor que nós temos por essas grandes figuras da arte que se manifestam nesses homens que foram importantes, que são influenciadores, por exemplo, do teatro e em toda parte. O que é que atribui essa fascinação, esse poder e a complexidade que isso tem, as coisas terríveis que isso traz. Acho que é um grande embate com todas as coisas e eu não estou excluída desse embate, dessa contradição. O amor que eu sinto por esses grandes génios também é colocado ali numa posição bastante complexa e vulnerável.” O que faz desse amor que tem pelos “grandes génios”? Como é que, enquanto artista mulher, o mostra e, ao mesmo tempo, o denuncia? Diz que a peça “não é uma denúncia”, mas o que é que se faz com todo esse amor? “Eu acho que essa é uma das grandes perguntas da peça. O que é que a gente faz com todo esse amor? Eu não sei porque continuo habitando esse ponto de sombra, de contradição que é um ponto que me interessa habitar dentro da arte, dentro do teatro. Para mim, é mais sobre essa grande pergunta. Eu não tenho essa resposta. Eu não sei o que a gente faz com esse amor, mas eu acho que poder nomear que esse amor existe e que ele é complexo e que é difícil e que tem consequências e coisas que são dolorosas a partir desse amor foi uma coisa importante para mim. Como eu digo em cena, não é uma peça de denúncia, não é esse o lugar da peça, mas levantar essas questões e olhar do que é feita também essa história da arte. A trilogia toda traz muito essa pergunta: como a arte tem representado ou tem sido um espelho de coisas que, de facto, acontecem na sociedade e mesmo a arte, com toda a sua história de vanguarda e com toda a sua liberdade de certos paradigmas, ela consegue também ainda se manter num lugar de prosseguir com certos tipos de violência.” Em 2023, quando falámos do primeiro capítulo, “A Noiva e o Boa Noite Cinderela”, disse que era “uma antecâmara do inferno, já com um pé no inferno”. Agora abre novamente com uma citação da Divina Comédia. Continuamos no inferno ou estamos antes no purgatório? “Sim. Nesta peça já estamos num purgatório, é acordar no purgatório. Tem uma frase da peça que é: “O que significa situar-se no teatro depois de voltar do inferno?”. Acho que essa frase resume um pouco essa busca de um posicionamento. Eu descreveria a peça como uma grande crise de identidade. Ela parte de uma crise de identidade, como uma jornada nesse purgatório, seguindo um mestre – como Dante segue Virgílio nesse purgatório. O mestre aqui seria um grande encenador de teatro, um grande artista, esses reconhecidos génios como a gente se refere. Acho que seria isso, seria uma jornada dessa tentativa de se situar num contexto do teatro. O teatro não é só um assunto da peça, o teatro é uma forma, é a linguagem como esta peça opera a sua discussão, a sua conversa.” Ao mesmo tempo que o teatro consegue pôr em palavras o que a Carolina descreve como a “fenda” que é a violação, o teatro também perpetua esse sistema de “brotherhood”, o qual alimenta a impunidade e a violência. Por que é que o teatro contribui para a continuação desse sistema e como é que se pode travá-lo? “Aí tem uma pergunta que eu não tenho resposta mesmo e que acho que nem existe: travar uma coisa dessas. Eu acho que sou pessimista demais para conseguir dizer que isso vai acabar. O facto de estar tão imersa nos estudos dessa trilogia vai mostrando que isso, para mim, está longe de terminar. Acho que a gente tem vivido transformações bastante importantes, contundentes, em termos de mudanças mesmo, mas acho que talvez a maior mudança que a gente tem aprendido, falando numa questão de corpos que não estão dentro dessa masculinidade que tem o poder, eu acho que é a questão da autodefesa que a escritora Elsa Dorlin aponta muito bem. Então, acho que uma das estratégias de autodefesa também é conseguir falar sobre certas coisas, é conseguir articular, talvez através da escrita, talvez através desta arte que é o teatro, nomear mesmo certas coisas, trazer esse problema para um lugar de debate. Para mim, a questão das respostas é impossível, é impossível, é impossível. Eu acho que o teatro tem essa história como parte de uma questão da própria sociedade. O teatro começa com esse actor que se destaca do coro, a gente tem a tragédia, a gente tem essa perpetuação dessa jornada heroica, os grandes encenadores, os grandes dramaturgos que eram parceiros dos grandes génios. A gente tem uma história que é feita muito por esses grandes mestres.” Mas, se calhar, as placas tectónicas do teatro podem começar a mudar, nomeadamente com o que a Carolina faz… Um dos intérpretes diz “Somos todos Brotherhood”. A peça e, por exemplo, a parte da entrevista que faz ao encenador “génio” não é a demonstração de que, afinal, não somos todos “brotherhood”? “Aí é que está. Eu acho que não. Eu acho que tem uma coisa que é menos purista nesse sentido do bem e do mal, do lado certo, do lado errado. Eu acho que é justamente isso. Tudo aqui neste trabalho está habitando esse lugar de complexidade, esse lugar de que as coisas são difíceis, é esse pathos que está manchado nesta peça. Então, a questão sobre o reconhecimento, sobre a empatia e também sobre a total distância de certas coisas, ela fica oscilando. Eu acho que a peça traz essa negociação para o público. A gente habita todos esses lugares de contradições. Eu acho que quando aparece esse texto, no final da peça, “tudo é brotherhood”, também se está dizendo muito de onde a sociedade tem as suas bases fincadas e como apenas o facto de ser mulher não me exclui de estar, às vezes, compactuando com esse sistema.” É por isso que se apropria dessa linguagem da “brotherhood”, por exemplo, na forma como conclui a entrevista do encenador “génio”? “Para mim, fazer uma peça sobre a ‘brotherhood', sobretudo usando o teatro como a linguagem principal, tinha a ver também com abrir um espaço para que essa ‘brotherhood' pudesse falar dentro da peça, pudesse se infiltrar dentro da peça e governar a peça. Por isso, essa coisa de uma outra voz que narra a história. Então, para mim, a peça precisava trazer essa ‘brotherhood' como guia, de facto, e não eu tentando lutar contra isso, porque senão acho que isso também revelaria pouco dessa complexidade, desse movimento que a ‘brotherhood' traz. É uma força e uma linguagem e eu precisava falar essa língua, ou melhor, tentar falar essa língua dentro da peça. Acho que isso também revela muito da complexidade minha que aparece ali, não como uma heroína que está lutando contra alguma coisa, mas alguém que está percebendo algumas coisas, mas também se está percebendo a si própria no meio dessa confusão.” Leva para palco essa complexidade, essa confusão. Admite ter sido vítima dessa violência, mas continua atraída por ela e dá a ideia que a violência engendra a violência. Porquê insistir nessa violência que alguém chama de “tornado” dentro da peça? “Porque não tenho outra opção neste momento. Acho que tem uma coisa de uma obsessão com o mal, que combina talvez uma questão para mim de temer muito esse mal, de já ter, em algumas vezes na minha vida, sentido essa força, essa presença, esse mal. Acho que esse mal é algo que temo e, por isso, também me obceca muito. É a linguagem com a qual agora eu consigo articular parte da minha expressão, parte da minha escrita, parte da minha presença. Acho que essa questão da violência é uma questão infinita para mim. Tem uma frase do ‘Boa Noite Cinderela' que é:‘Depois que você encontra a violência, que você sofre uma violência, enfim, você fica obcecada por isso”. Tem uma frase também na própria ‘Brotherhood', quando os meninos estão lendo uns trechos das 500 páginas que me acompanham ali em cena sobre a pesquisa da trilogia, e eles dizem: ‘Bom, então ela escreve: eu não superei o meu encontro com a violência. Eu sou a sua filha'. É impossível. Você fica obcecada.” A Carolina diz, em palco, que já não pode com a palavra violação, com a palavra estupro, que já não pode falar isso… Não pode, mas não consegue parar. É mais uma contradição? “Completamente. Mas isso é muito o jeito que eu opero, é nessa contradição e, ao mesmo tempo, dizendo que se a palavra agora não está carregando essa violência dessa forma, se eu não posso dizer a palavra estupro porque eu estou cansada de me ouvir dizer isso, vem a poesia com a sua forma. E aí a forma do poema é violenta e é isso que eu também estou debatendo ali. Então, é mudar uma forma de escrita e ir para um outro lugar onde essa violência apareça de outras maneiras.” Mas que apareça na mesma? “Não sei porque, para mim, por exemplo, a violência poética é uma outra forma de violência. Se a gente for pensar em termos de linguagem, a forma de um poema tem uma outra maneira de as coisas aparecerem, de a gente descrever as coisas, delas existirem, delas saírem, que é diferente de quando você está trazendo, por exemplo, um material documental para o seu trabalho. São maneiras diferentes de expressar certas coisas. Eu acho que é isso que eu estou debatendo ali no final da peça.” Aí diz que “o melhor caminho para a poesia é o teatro”, citando T.S. Eliot. Porém, também diz que o amor que você precisa não é o teatro que lho pode dar, nem a vida. Gostaria que me falasse sobre o terceiro capítulo da trilogia. Há esperança no terceiro capítulo? “O terceiro capítulo vai falar sobre poesia e escrita que, para mim, são coisas que estão muito perto do meu coração e isso já está apontado no final de ‘Brotherhood'. Sobre a esperança, eu não sei. Eu não sei porque o terceiro capítulo tão pouco vem para concluir qualquer coisa. Vem para ter a sua existência ali. Não sei se, na trilogia, se pode esperar um “grand final”, entende? Acho que a questão da esperança para mim, não sei nem se ela é uma questão aqui. Eu acho que é mais entender o que o teatro pode fazer? O que é que essas linguagens artísticas podem fazer? E, às vezes, elas não fazem muito e outras vezes elas fazem pequenas coisas que também já parecem grandes coisas.” Em si, o que fez? Há uma mudança? “Completamente, Completamente. Acho que a cada espectáculo dessa trilogia é uma mudança enorme porque você fica ali mergulhada em todas essas questões durante muito tempo e vendo a transformação dessas questões dentro da própria peça à medida que a vai repetindo. Porque demanda um tempo para você olhar para aquilo que você fez e ver o que essa coisa faz nas outras pessoas porque você, como directora, pode pensar ‘Ok, eu quero que a peça tenha essas estratégias de comunicação com o público, mas você não sabe, você não tem como saber o que aquilo vai fazer nas pessoas, que sinapses ou que desejos ou que repulsa ou que sensações aquilo vai trazer nas pessoas. Isso, para mim, é um momento interessante do teatro, bonito, essa espécie de ritual em que estamos todos ali, convivendo durante esse tempo, em muitos tempos diferentes - o teatro tem isso, o tempo da plateia, o tempo do palco, são tempos completamente diferentes - e vendo o que acontece.” Uma das questões principais da peça, que anuncia no início, é “o que é que fazemos com esse corpo que sobrevive a um estupro? Essa morte em vida que é um estupro?”. Até que ponto o teatro é, para si, a resposta? “Eu acho que o teatro é uma maneira de se formular a pergunta. Quando a gente vê na peça a pergunta colocada, transmitida por uma pessoa que sou eu, para eu chegar até essa pergunta é muito tempo e é muita elaboração a partir do pensamento do teatro. Então, acho que o teatro me ajuda a conseguir elaborar esses enunciados, essas perguntas, esses enigmas. Eu vejo o teatro como o lugar do enigma, onde o enigma pode existir, onde há coisas que não têm respostas, onde essa complexidade pode existir e pode existir na forma de enigma, de uma forma que não apresenta a solução. Então, acho que o teatro me ajuda a formular as perguntas e isso, para mim, é uma coisa que é muito bonita do teatro, é um lugar de uma honestidade muito profunda, como fazer para se chegar nas perguntas. O teatro é, para mim, o lugar dessa formulação, esse laboratório de formulação dessas perguntas, essas grandes perguntas.” Outra grande pergunta que se ouve na peça é: “Se a brotherhood no teatro desaparece, o teatro que amamos morre com ela? Estamos preparados para ficar sem esse teatro?” A Carolina não está a abrir uma porta para que esse teatro venha a existir? “Não sei se estou abrindo essa porta, mas ao formular essas perguntas, elas também ficam ali, nesse espaço, e agora elas habitam todas essas pessoas que estiveram aqui nestes dias assistindo a este espectáculo. Isso o teatro faz, esse compactuar, essas perguntas, tornar essas perguntas um processo colectivo. Agora essas perguntas deixam de ser perguntas que me assombram e passam a ser perguntas que talvez assombrem algumas pessoas que estiveram aqui. Isso é muito interessante. Mais do que acreditar que você está operando uma grande transformação, eu gosto de pensar num outro ponto, acho que só o facto de abrir essa pergunta, de fazê-la existir agora, colectivamente, isso é um trabalho, esse é o trabalho. Para onde ela vai a partir daqui, nem sei determinar, é um ponto bem nevrálgico do teatro, deixar as coisas ficarem com as pessoas. Eu busco muito esse lugar de não infantilizar o público, de deixar o público ficar com essas perguntas, de deixar o público ficar confuso, perdido. Acho que a gente às vezes ganha muito com isso, ganha muito com a confusão, quando ela é colocada. A gente pode permanecer com o trabalho mais tempo na gente quando ele consegue apontar esses enigmas, quando ele consegue manifestar as coisas de um jeito que a gente precisa pensar, que a gente precisa se debruçar. Nem tudo precisa de estar num tempo de uma velocidade lancinante, onde todas as questões são colocadas e imediatamente resolvidas, até porque essas resoluções, não sei se elas vão ser, de facto, resoluções.”

Stefan Diethelm is a Swiss and German artist, originally from Uzwil, Switzerland. He fell in love with performing at a young age, was trained in classical voice throughout his teens, and studied musical theatre in Hamburg, Germany. He moved to New York City to further his craft, and studied at the HB Studio under instructors like Lonny Price, Peter Francis James and Theresa McElwee. HB Studio is also where he met Eduardo Machado and started writing plays while in his class. Since graduating from the studio, he has been a working playwright, actor, producer, and director here in the city.He has acted on various stages, from Off- and Off-Off-Broadway to Switzerland and Germany, and his plays have been performed in a variety of theaters and festivals in New York and beyond, garnering positive national and international reviews.His biggest influences as a playwright include Sarah Kane, Samuel Beckett, Adrienne Kennedy and the European classics. He aims to create original, human art for our commercialized times.Bradly Valenzuela is a New York City based director, playwright and producer. He is originally from Rocklin, California and attended university in Southern California at California State University, Fullerton. He graduated with a BA in Theatre with an Emphasis in Directing. Bradly is a recipient of the Honorable Mention Directing Award for Region 8 of the Kennedy Center American College Theater Festival. For the past 5 years, he has worked within many theater companies such as Bated Breath Theatre Company, Mabou Mines and Theatre for the New City. He also has worked in multiple festivals, including the Rogue Theater Festival and the New York Theater Festival.Along with collaborating in these given spaces, Bradly shows continued commitment to workshopping and developing new works, both as a director, playwright and as a producer, being responsible for 6 debuts in the last 2 years.This is Something Rather Than Nothing

Daniel Evans, Jo McInnes and Madeleine Potter make up the cast of the original production of Sarah Kane's 4.48 Psychosis, which opened at the Royal Court in the year 2000.  Daniel, Jo and Madeleine, reprised their roles in 4.48 Psychosis here at the Royal Court, 25 years on from its debut, directed by original director James Macdonald. The production ran here until 5 July, before embarking on a run at the RSC.  

Earlier this week, Mickey-Jo spent two evenings at the Royal Shakespeare Company in Stratford upon Avon, seeing two entirely different pieces of theatre.First he saw Laura Wade's new adaptation of The Constant Wife starring Rose Leslie, and the next evening was the press night performance of 4.48 Psychosis, a hugely impactful play by Sarah Kane recounted with the play's original cast.Check out this double bill review to find out what Mickey-Jo thought of these two pieces of theatre...•00:00 | introduction02:01 | The Constant Wife12:30 | The Constant Wife (contd)20:20 | 4.48 Psychosis•About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 80,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

Tribut de Sarah Kane amb seqüeles de Rubens. Crítica teatral de l'obra «The Brotherhood». Concepte, text i direcció: Carolina Bianchi. Intèrprets: Chico Lima, Flow Kountouriotis, José Artur, Kai Wido Meyer, Lucas Delfino, Rafael Limongelli, Rodrigo Andreolli, Tomás Decina, Carolina Bianchi. Dramatúrgia i soci de recerca: Carolina Mendonça. Diàleg sobre teoria i dramatúrgia: Silvia Bottiroli. Traducció a l'anglès: Marina Matheus. Traducció al francès:Thomas Resendes. Direcció tècnica, disseny de so, música original: Miguel Caldas. Assistent direcció: Murillo Basso. Concepte escenografia: Carolina Bianchi, Luisa Callegari. Direcció art i vestuari: Luisa Callegari. Disseny il·luminació: Jo Rios. Vídeos i projeccions: Montserrat Fonseca Llach. Resurrecció coreogràfica del pròleg i assessora de moviment: Jimena Pérez Salerno. Càmera en viu i suport artístic: Larissa Ballarotti. Pràctiques: Fernanda Libman. Fotos: Mayra Azzi. Regidora i suport de producció: AnaCris Medina. Assistent de producció: Zuzanna Kubiak. Direcció producció, gestió gires i comunicació: Carla Estefan. Relacions internacionals, producció i difusió: Metro Gestão Cultural (BR). Producció de Metro Gestão Cultural (BR), Carolina Bianchi Y Cara de Cavalo. Trilogia Cadela Força – Capítol II. En coproducció amb KVS Koninklijke Vlaamse Schouwburg -Brussel·les, Theater Utrecht, La Villette –París, Festival d’Automne à Paris, Comédie de Genève, Internationales Sommer Festival Kampnagel, Les Célestins –Théâtre de Lyon, Kunstenfestivaldesarts, Wiener Festwochen, Holland Festival, Frascati Producties HAU Hebbel am Ufer -Berlín i Maillon, Théâtre de Strasbourg. Amb el suport de Tax shelter van de Belgische Federale Overheid a través de Cronos Invest, The Ammodo Foundation-NL. Relacions internacionals. Festival Grec 2025. Sala Fabià Puigserver, Teatre Lliure Montjuïc, Barcelona. De l'11 al 12 de juliol 2025. Veu: Andreu Sotorra. Música: Sweet Dreams (Are Made of This). Intepretació: Annie Lennox, Dave Stewart, Eurythritmics. Composició: Annie Lennox i David Sewart. Àlbum: Geatest Hits, 1991.

durée : 00:58:40 - Toute une vie - par : Julien Thèves - Cinq textes de théâtre, brûlants, violents, désespérés, romantiques, explosifs, modernes. Un auteur est né, un choc venu de Grande-Bretagne, qui change le visage du théâtre puis disparaît. Sarah Kane se suicide à 28 ans, en se pendant avec ses lacets dans sa chambre d'hôpital. - réalisation : Christine Robert - invités : Elisabeth Angel-Perez Professeur à l'université Paris IV, spécialiste du théâtre britannique.; Christian Benedetti Metteur en scène et directeur du Théâtre-Studio d'Alfortville; Graham Saunders Essayiste, auteur de Love me or Kill me : Sarah Kane et le théâtre (l'Arche éditeur).; Claudine Galea Auteure de théâtre, Grand prix de littérature dramatique jeunesse 2019; Isabelle Huppert Actrice française; James Brandily; Arnaud Cathrine Écrivain

Die britische Dramatikerin Sarah Kane wurde nur 26 Jahre alt. Die Depression hat sie ihr Leben gekostet und davor ihr Schreiben stark geprägt. So auch in ihrem letzten Stück „4.48 Psychose“. Am Staatstheater Mainz ist nun eine packende Opernfassung von Komponist Philip Venables zu sehen.

This month's two shorter plays: Pleasure by Rachilde and Three Women by Sylvia Plath!If you're looking for a play that reveals how the pursuit of sensuality can both liberate and ensnare… then Rachilde's Pleasure is the two-hander of your dreams. An intimate, delicate, and emotionally charged conversation between two young lovers, Pleasure offers feminist undertones with a dangerous and erotic edge. The play's themes of sexual politics, youthful desire, and the consequences of indulgence are as timely today as they were in its origins in the Belle Époque. Fans of Sarah Kane, Sam Shepard, and Edith Wharton alike will delight in its dark twists and lush poetry, making this a standout choice for a contemporary or a classical season.If you're looking for an achingly lyrical play probing the complex beauty and pain of pregnancy… consider this dramatic poem that brings Sylvia Plath's raw emotionality to the stage. Interweaving three contrasting perspectives, this piece wrestles with childbirth, loss, and motherhood as perceived by a trio of women. One welcomes a wished-for and beloved child; another comes to terms with a miscarriage; the third gives her child up for adoption following the trauma of sexual assault. The resulting chorus paints a sharp and unflinching portrait of having, or losing, a child. Three Women is a daring piece to engage a community in conversation around the choices and agency of reproductive rights arcing towards glimmers of hope and healing.Hosted by Skye Pagon and Emily LyonSupport this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations

In the grand tradition of Finnegans Wake, WAKE has looped back around on itself to become a self-generating machine, as we welcome back musical innovator and the most reckless of stramashers, Tommy Mackay, to talk about WAKE: the Album! Yes, this very podcast is honoured to be the inspiration for at least half the tracks on Tommy's new (stra)mash-up album of music, smashing WAKE readings into the music of Taylor Swift, Wham!, Devo, and more, with more groan-worthy dad-joke pun titles than you could possibly handle. There's a sailor on a horse! There's an invitation to suck a sugarstick! There's Gráinne O'Malley's girl power! Join us for a track-by-track odyssey through WAKE: the Album, in the hope that no takedown notices emerge to ruin anyone's fun.This week's chatters: Tommy Mackay, Toby Malone, TJ YoungReferencesWAKE: the Album on Bandcamp WAKE: the Album on the Daily Reckless Album details:A collection of stramash-ups by Tommy Mackay drawn from readings of James Joyce's 'Finnegans Wake'Main sources:WAKE podcast - www.youtube.com/@WAKEpod One Little Goat Theatre Company - www.onelittlegoat.org/finneganswake Released April 4, 2025Clips used by permission from the WAKE podcast by Toby Malone and TJ Young and also the audio-visual book by One Little Goat Theatre Company read by Richard Harte, directed by Adam Seelig.Individual credits in song info.all rights reservedFinnegan's Wake 03:38. trad. Played and sung by Kevin Kennedy from the One Little Goat theatre company production, directed by Adam Seelig. www.onelittlegoat.org/finneganswakeWake Me Up Before You Goan 03:13. performed by Richard Harte from the One Little Goat theatre company production. Music - Maucoli the pianoman's version of Wham's 'Wake Me Up Before You Go Go.''The Ballad Of Persse O'Reilly 06:31. performed by Meg Logue from the Wake podcast.Thunderwords 01:58. read by Adam Harvey, Joyce Geek - joycegeek.com/thundervideos/ Music - Thunderbirds theme tuneTip It! 04:37. performed by Richard Harte from the One Little Goat theatre company production. Backing track - 'Whip It!' by Devo.Denti Alligator 02:43. From the Wake podcast, read by Toby Malone, TJ Young, Tommy Mackay.  Music - 'See You Later Alligator' Bill Haley and The CometsThunderslog 04:06. from the Wake podcast -Toby Malone, TJ Young. Music Steve 'n' Seagulls live cover of AC/DC's 'Thunderstruck.' Lady Macbeth - Kate Fleetwood from the 2010 Rupert Goold production.Cunstuntonoplies 02:48. read by Patrick Horgan, 1985.  Music - 'Istanbul Not Constantinople' by They Might Be Giants.Wake It Off 03:45. performed by Richard Harte from the One Little Goat theatre company production.  Backing track 'Shake It Off ' by Taylor Swift.Respectable 03:20. Seth Austin from the Wake podcast.  Music - 'Respectable' by Mel and Kim.Suck It Yourself, Sugarstick! 03:48. Toby Malone, Sarah Kane from the Wake podcast. Music - 'Suck It And See' by Arctic Monkeys.Wake That 06:20. performed by Richard Harte from the One Little Goat theatre company production. Music - 'Never Forget instrumental' by Take That.Bonus Tracks:Hi Ho Silver Sailor https://www.dailyreckless.com/2025/04/06/hi-ho-silver-sailor/ Fanfare for ALPOlwen Fouéré's riverrun: ⁠https://www.theguardian.com/stage/2014/feb/14/riverrun-joyce-finnegans-wake-olwen-fouere-national-theatre⁠ Other references:Allaster Mckallester: https://www.instagram.com/mckallaster/ ReWiggled: https://open.spotify.com/album/7pMmcRjBt41hvqnFQHqYb2 Finnegans Dreams: https://www.dailyreckless.com/2024/08/15/finnegans-dreams/ McCourt, John. ‘Denti Alligator' or ‘Airtight Alligator': Reading Dante with Joyce and Beckett. For early drops, community and show notes, join us at our free Patreon, at⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/wakepod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or check out our Linktree, at⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/wake.pod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!

Under a full moon and with a pint of Guinness in hand, WAKE welcomes our very first Dublin-based reader, as correctly-accented Sarah Kane joins Toby and TJ to kick off Chapter 3.3. Sarah tells us all about participating in Bloomsday as a neophyte Joycean (“a lifeguard that can't swim”), slips into a Joyce fugue state regardless of best laid plans, and reminds us that a cold read is really just what the kids nowadays call Rawdogging. With the glorious Irishness of it all to bring us through, we discuss Joyce reading groups, Sweny's Pharmacy, Anthony Burgess, and, in a bombshell twist none of you saw coming, TJ's authentic Irish heritage. This week's readers: Sarah Kane, Toby Malone, TJ Young Progress: 496 pages complete, 132 pages to go; 78.98% read. For early drops, community and show notes, join us at our free Patreon, at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/wakepod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or check out our Linktree, at ⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/wake.pod⁠⁠⁠⁠⁠⁠⁠. We welcome comments from everyone: even, nay, especially, the dreaded purists. Come and "um actually" us!

Chiara Clini"L'ultima crociera"Edizioni Piemmewww.edizpiemme.itLondra, 1940. Jacopo Abramo Errera, giovane ebreo veneziano, ha abbandonato l'Italia per sfuggire alle retate del governo fascista. Dopo la dichiarazione di guerra di Mussolini, però, il governo inglese lo etichetta come nemico e collaboratore del regime. Il suo è il destino di moltissimi innocenti che hanno raggiunto il Regno Unito: Churchill ha ordinato di rastrellare italiani, tedeschi e austriaci senza distinzione. Così, dopo un breve periodo di detenzione in un campo di prigionia, oltre mille uomini vengono imbarcati sull'Arandora Star, una nave da crociera pronta a dirigersi oltreoceano per allontanare la minaccia. Harriet fa parte della Aliens Advisory Committee, la commissione incaricata di giudicare i cosiddetti "stranieri nemici". Ha partecipato all'interrogatorio di Jacopo e ha letto nei suoi occhi l'innocenza, oltre che l'anima di un uomo buono e sincero. Se ne è innamorata subito, e vuole salvarlo. Inizia così una disperata e difficile corsa contro il tempo. Wolfgang è un marinaio dell'U-boot che punta i siluri contro la Arandora Star. Stringe tra le mani una copia logora di Moby Dick e passa le giornate d'immersione a pensare che il suo comandante, Gunther Prien, si sia trasformato in Achab, il folle capitano del Pequod. Nel cuore della tragedia, quando l'equipaggio di Prien è pronto a fare fuoco contro la nave, il destino dei tre protagonisti si sovrappone. Chiara Clini, all'esordio nel romanzo, costruisce un affresco storico di grande portata, un commovente e intenso racconto a più voci.Chiara CliniNata a Parma, è attrice di teatro e sceneggiatrice. Diplomata in recitazione all'Accademia dei Filodrammatici di Milano, ha lavorato con il Teatro Stabile di Bolzano, di Venezia e con Nuova Scena di Bologna. Nel 2002 è Ilse ne I giganti della montagna per la regia di Nanni Garella. Laureata in Lettere con una tesi sulla drammaturga Sarah Kane, ha scritto per numerose serie televisive Rai e Mediaset, fra cui Nati ieri, Codice rosso, Un amore, Una vendetta. Nel 2024 ha scritto l'adattamento drammaturgico del racconto vincitore del Campiello Giovani, in scena a Padova. Un suo prozio, Guido Conti, ha vissuto in prima persona la tragedia dell'Arandora Star.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Bram E. Gieben takes a deep dive into the revolutionary feminist writing of Valerie Solanas and Sarah Kane, and what it means for men. This is a preview. To listen to full episodes of Strange Exiles, sign up at ⁠⁠⁠⁠strangeexiles.substack.com

Author Adam Lehrer returns to the pod to talk Sarah Kane and more. Get the After Dark episode and more at patreon.com/artofdarkpod or substack.com/@artofdarkpod. twitter.com/safetypropagan1 twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kautzmania […]

Par Nicolas Maury Entre poésie convulsive et désespoir clinique, un chant d'amour empreint d'une solitude abyssale et traversé d'une lumière crue, qui dit sa fêlure sans suture. Avant de disparaître, une figure anonyme adresse sa prière au monde, entre rage et catalepsie. Elle dit sa soif de vie et de vérité, sa quête d'absolu et de beauté. Publié pour la première fois il y a plus de vingt ans, 4 : 48 Psychose est un poème devenu culte. Cette nouvelle traduction délivre la force inouïe du texte de Sarah Kane, sa puissance transformatrice qui, en mettant en crise la langue et les corps, décloisonne les imaginaires de genre et les érotismes. “C'est moi que je n'ai jamais rencontré, dont le visage est collé au revers de mon esprit” Sarah Kane, 4:48 Psychose À lire – Sarah Kane, 4 : 48 Psychose, nouvelle traduction par Vanasay Khamphommala, L'Arche, 2024

It's Back To School week and Mullinger is rambling more rampantly than ever despite recording this episode at 6am this morning! Don't worry, he's already been up for two hours fretting about life so is as frenetic as ever! This week he rambles about why we should embrace time going fast, the YMCA, Sarah Kane's Blasted, Symphony New Brunswick, life goals, Ticketmaster and Oasis, magazine stuffing, Hanif Kureishi, upcoming shows, the town who elected a dog as their mayor, the 5 best places in New Brunswick, poutine, Hampton and answers your wild and crazy questions! If you would like advice, a shout out or wish to know anything at all, please email comedy@jamesmullinger and James will answer your question guaranteed! Learn more about James

Playwright and actor Mari Sitner makes her AoD debut to talk playwriting, theatre in New York, and the influence and legacy of the great Sarah Kane. Get the After Dark episode and more at patreon.com/artofdarkpod or substack.com/@artofdarkpod. twitter.com/marihmmm twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kautzmania […]

Armando Besio"Zelbio Cult"www.zelbiocult.itLetteratura, arte, memoir, musica, teatro, fotografia di viaggio: in arrivo gli incontri d'autore di Zelbio Cult diretti e curati da Armando BesioTornano gli appuntamenti culturali a Zelbio, dal 14 luglio al 17 agosto: sette serate all'insegna della cultura a tutto tondo in uno dei borghi più suggestivi del lago di Como. Gli appuntamenti di Zelbio Cult 2024, quest'anno alla sua diciottesima edizione, che riconfermano la formula ben riuscita che, dal 2008 porta a 800 metri di altezza, tra il lago e i monti di Como, voci, figure e storie protagoniste del panorama culturale italiano e noti a livello internazionale.   Armando Besio, curatore della rassegna, con gli amici del Comitato cultura di Zelbio e con il sostegno della Pro Loco e della Biblioteca comunale, propone per la XVIII edizione un variegato calendario di incontri su quell'altro ramo del lago di Como.   Zelbio Cult 2024 inizia domenica 14 luglio con uno dei più grandi e talentuosi interpreti di viola al mondo, Danilo Rossi, che presenterà il suo libro Viola d'amore(Baldini+Castoldi), insieme alla curatrice del volume, Paola Zonca, e proponendo al pubblico racconti di vita uniti a una performance di brani musicali selezionati. Viola d'amore è la storia del suo percorso umano e della sua carriera artistica, dagli inizi nelle balere romagnole al decollo a soli 19 anni quando diventa il più giovane strumentista a ricoprire il ruolo di Prima Viola Solista dell'Orchestra della Scala di Milano, che ripercorre oltre 40 anni di musica e importanti collaborazioni con direttori d'orchestra di fama internazionale come Abbado, Barenboim, Harding e Bernstein, tra grandi teatri ma anche contesti insoliti come carceri e boschi. Il racconto da vicino di un musicista appassionato, «un ribelle positivo» innamorato della vita, amante del liscio, del jazz, del pop e del buon cibo.  Venerdì 19 luglio l'appuntamento è con la fotografa e giornalista Valentina Tamborrainsieme alla sua ultima pubblicazione I nascosti (minimumfax), un libro fotografico che racconta il viaggio di quattro anni tra i ghiacci del Circolo Polare Artico alla scoperta del popolo nomade dei Sami, detto anche “il popolo delle renne”. L'autrice ci accompagnerà tra le terre del nord con uno sguardo profondo e intenso sulla vita dei Sami che da sempre vivono in simbiosi con la natura, spostandosi tra i paesaggi innevati di Norvegia, Svezia, Finlandia e Russi: tra storie, tradizioni e sfide quotidiane di questo popolo, che lotta per mantenere la propria identità culturale di fronte alla modernità e ai cambiamenti climatici.  Protagonista della serata di sabato 27 luglio è la Famiglia Campari che ha segnato un pezzo della storia di Milano. Silvia Cinelli, autrice e sceneggiatrice, presenterà il suo ultimo libro L'Elisir dei sogni. La saga dei Campari e l'invenzione del “Bitter perfetto” (Rizzoli): la storia del giovane liquorista, Gaspare Campari, e dei suoi discendenti, arrivato a Milano con il sogno di realizzare il Bitter perfetto e creando, da lì in poi, un'icona del rito pre-dinner in Italia. Un viaggio emozionante tra tradizione e innovazione, narrato con maestria dall'autrice attraverso un affascinante affresco della società milanese di fine Ottocento, in un periodo di grandi cambiamenti culturali, politici e sociali.   Domenica 28 luglio si conferma l'appuntamento con la musica classica in collaborazione con il Festival di Bellagio e del Lago di Como con il concerto Canti di Boemia diretto dal Maestro Alessandro Calcagnile, con musiche di Antonín Dvořák e Josef Suk, nella Chiesa di San Paolo Converso di Zelbio (ore 17:00).    Il primo appuntamento di agosto, sabato 3, è dedicato al teatro con lo spettacolo teatrale "ALDST (Al Limite Dello Sputtanamento Totale)" con la regia di Matteo Gatta e Viola Marietti.  Viola Marietti,  figlia d'arte dell'attrice Lella Costa, protagonista sul palco di questo spettacolo, sfida le convenzioni del teatro tradizionale in un mix tra una stand-up comedy e il flusso di coscienza tragico di Sarah Kane, conducendo il pubblico in un viaggio tra auto-diffamazione inquieta e comica dissacrazione. «ALDST – dice Viola Marietti – è un piano sequenza di tutti i casini, a partire dal pranzo di Natale in famiglia ai tanti “pit-stop” emotivi di ogni giorno, per cui si lotta grossolanamente contro quell'indefinita zavorra che trascina sempre in basso, passando per il baratro della depressione. Sappiamo tutto di questa ragazza: l'amore, il lavoro, la solitudine, la religione, la malattia, tutto quel che le restituisce sempre e con gli interessi il dolore senza nome che si porta dentro»   Sabato 10 agosto, appuntamento con un pezzo della storia dello spettacolo italiano: ospite della serata sarà Aurelio “Cochi” Ponzoni e il suo libro La versione di Cochi(Baldini+Castoldi) scritto con la collaborazione di Paolo Crespi. Un memoir che ripercorre, da una prospettiva inedita, la vita e la carriera di Cochi a partire dai ricordi d'infanzia e della guerra fino all'esperienza con il socio Renato Pozzetto e alle avventure artistiche più recenti. Sessant'anni di spettacolo, teatro, cabaret, cinema, tv scolpiti indelebilmente nell'immaginario degli italiani e racchiusi in un libro per i lettori di tutte le generazioni, dagli amanti del mitico Derby Club ai giovani spettatori delle sue ultime avventure teatrali.  Chiude il programma dell'edizione di Zelbio Cult 2024 l'appuntamento di domenica 17 agosto con Marco Carminati, storico dell'arte e giornalista professionista, per anni caporedattore responsabile dell'inserto culturale "Domenica" del "Sole 24 Ore", che condurrà una lectio con proiezioni dal titolo “L'insostenibile leggerezza del marmo”, dedicata a uno dei monumenti dell'arte italiana: Gian Lorenzo Bernini, artista poliedrico e multiforme, protagonista della cultura figurativa barocca, la cui arte scultorea caratterizzata da potenti virtuosismi tecnici e da una scenografica espressività continua a influenzare artisti di tutto il mondo.    Il curatore della manifestazioneArmando Besio:   Genovese di nascita, giornalista, laureato in Storia dell'Arte con il professor Corrado Maltese, è stato cronista del Secolo XIX, inviato speciale del Lavoro, caposervizio del Venerdì di Repubblica, con cui collabora,  e delle pagine culturali milanesi di Repubblica.   Ha scritto per Epoca, Arte, Antiquariato, l'Illustrazione italiana. Ha pubblicato guide storico-artistiche di Genova, Sanremo, Bordighera. Ha collaborato con La Milanesianadi Elisabetta Sgarbi e ha ideato e dirige i festival “Zelbio Cult - incontri d'autore su quell'altro ramo del lago di Como” e "Il bello dell'Orrido. Spavento, stupore e meraviglia" a Bellano (LC). IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it   Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Meet Cute Presents: Camp Firefly, an audio romantic comedy. Two camp counselors try to keep the fires burning throughout high school, college and married life. At least they've got Camp Firefly to keep them grounded, or, incredibly busy: kids sure know how to pull off pranks. So what will the camp counselors do when they have a kid of their own?Story by Abigail Ann Schwarz. Directed and Produced by Elaisha Stokes. Associate Producers: Kristin Kohlmeyer, Baylon Bulambo. Sound Editor and Designer: Ross Brunetti. Starring: Michael Herman, Sarah Kane, Samantha Cooper, Craig First, Elaisha Stokes, Andrea Shapiro, Ted Limpert, Ross Brunetti, Stefanie Miller, Matt Hooper, Khaya Fraites, Vivian Martinez.  Follow @MeetCute on Instagram and @MeetCuteRomComs on Twitter & TikTok. Join our beta listening program, New Romantics, to share your reactions and feedback on our series and get cool perks, like sneak peeks, early listening, and more!Check out our other rom-coms, including KERRI with Pauline Chalamet, IMPERFECT MATCH with Arden Cho, and DUMP HIM! with Minnie Mills.Check out our other dramas, including FIRE & ICE with Chiara Aurelia and Jack Martin, and POWER TEN. Check out our other fantasies, including A PROPHECY OF INCENSE AND SNOW and I'VE BECOME A TRUE VILLAINESS. Have a crush on us? Follow Meet Cute, rate us 5 stars, and leave a review! Want more Meet Cute? Find us at www.meetcute.com.

durée : 00:28:57 - Poésie et ainsi de suite - par : Manou Farine - L'artiste et performeuse Vanasay Khamphommala signe une nouvelle traduction de "4 : 48 Psychose" la pièce testamentaire de Sarah Kane (1971-1999) aux éditions de L'Arche. Entre poésie convulsive et désespoir clinique, mettant en lumière la quête d'absolu de l'autrice anglaise. - invités : Vanasay Khamphommala Dramaturge, performeuse, autrice et traductrice

When love and human interaction get tangled in extremities, the heart yearns for a voice that dares to explore these infinite complexities. That's why we called upon Walt Ziprian, Houston's alternative theater virtuoso, to unravel the threads of Sarah Kane's "Cleansed" in its regional premiere. Alongside this deep dive into the transformative power of performance, we celebrate the sheer resilience of Houston's queer community, personified by icons like Roxanne Collins, whose journey from drag legend to a Tina Turner tribute artist encapsulates the spirit of authenticity.The stage isn't just a platform; it's a mirror reflecting the most profound parts of our identities. This episode peels back the curtain on the self-discovery that can happen under the spotlight, as seen through Roxanne's evolution and the poignant tales from Houston's vibrant 1990s drag scene. We also step into the advocacy arena with Chris Berry, who, in the face of discrimination, remains a bastion of community-building and inclusivity in his work with the Human Rights Campaign. It's a reminder that our voices, when woven together, can create a tapestry of support and solidarity.Wrapping up, you'll get a taste of the global stage of LGBTQIA+ rights and how local actions in Houston resonate with broader conversations, from landmark court decisions to the ongoing support for transgender student-athletes. We spotlight the collaborative efforts of our community and the allies who contribute to the rich tapestry of Queer Voices. With gratitude and humor, we extend an invitation to join in on this exploration of diversity, tenacity, and the endless pursuit of our collective rights and joys.Queer Voices airs in Houston Texas on 90.1FM KPFT and is heard as a podcast here. Queer Voices hopes to entertain as well as illuminate LGBTQ issues in Houston and beyond. Check out our socials at:https://www.facebook.com/QueerVoicesKPFT/ andhttps://www.instagram.com/queervoices90.1kpft/

durée : 00:42:46 - Les Nuits de France Culture - par : Albane Penaranda - En 2002, le metteur en scène Claude Régy met en scène "4:48 Psychose" une pièce de Sarah Kane, avec Isabelle Huppert, aux Bouffes du Nord. Au micro d'Alain Veinstein, il parle de ce texte écrit au cœur même de la folie.

Filmmaker Yorgos Lanthimos first emerged as part the so-called ‘weird wave' of Greek cinema, and is known for unsettling themes and absurdist humour of his films. He made his mark internationally in 2009 with Dogtooth, which won a Cannes film festival prize and was nominated for an Oscar. Shifting into English language cinema with The Lobster, starring Colin Farrell and Olivia Colman, he continued to win awards and acclaim with The Killing Of A Sacred Deer and his historical comedy drama The Favourite. His most recent film Poor Things, starring Emma Stone, has been nominated for eleven Academy awards, including best film and best director.Yorgos Lanthimos tells John Wilson about his upbringing in Athens, the son of a professional basketball player who was part of the Greek national team, and how, after graduating from film school, he began making commercials and pop videos. He reveals why the work of the American photographer Diane Arbus, renowned for the underlying psychological tension of her portraits, was a major inspiration on the mood of his films. He also cites the influences of the German choreographer Pina Bausch on visual elements in his films, including dance routines seen in The Favourite and Poor Things. The plays of the British writer Sarah Kane, including Blasted and Crave, were also influential on the tone of his darkly humorous films. Producer: Edwina PitmanDiane Arbus' quote is from the documentary film Going Where I've Never Been: The Photography of Diane Arbus (1972), voiced by Mariclare Costello.

Ambassador Bärtl talks about the upcoming visit of his President. Actor Catherine Elsen+director Sandy Artuso tell us about the power of Sarah Kane's work Vladimír Bärtl, Ambassador of the Czech Republic to the Grand Duchy of Luxembourg, has lived in Luxembourg for four years. He and his family arrived at the start of Covid, but rather than allow this to hinder developing diplomatic relationships, Ambassador Bärtl linked the song nano-textile production industry of his homeland with LuxInnovation. As a pilot, Ambassador Bärtl and AMCHAM co-organised and flew a group of NATO Ambassadors to Spangdahlem, a nearby American airbase in Germany. It's been a busy four years for Ambassador Bärtl. 2022 was the centenary of diplomatic relations with Luxembourg and the second half of the year saw the Czech Presidency of the EU. To celebrate these parallel programmes, Luxembourg inaugurated Václav Havel Street with both Prime Ministers present. At the end of February the President of the Czech Republic, Mr Petr Pavel, and his wife will visit Luxembourg, marking the first state visit with the new Luxembourg government. This visit will be accompanied by a business delegation with a focus on ICT, cybersecurity, space and defence, reflecting the geopolitical atmosphere in Europe right now. '4.48 Psychosis' by Sarah Kane “Remember the light and believe the light” 4.48 Psychosis is a one-woman play written by Sarah Kane (1971 - 1999). Despite her short life, ending in suicide, she is remembered as a powerful voice in contemporary British drama. Sarah suffered from severe depression and this work depicts some of her mental state in ‘virtuosic and precise use of language'. Some say that this piece was in effect her final goodbye. Sandy Artuso is the director and Catherine Elsen the actress in this show which you can see the show in Op Der Schmelz in Dudelange on 21 February. Subscribe to the Podcast and get in touch! You can subscribe to my podcast on Apple and Spotify. Please do rate and review too! Tune in on Today Radio Saturdays at 11am, Sundays at noon and Tuesdays at 10am.

Ambassador Bärtl talks about the upcoming visit of his President. Plus actor Catherine Elsen & director Sandy Artuso tell us about the power of Sarah Kane's work. Vladimír Bärtl, Ambassador of the Czech Republic to the Grand Duchy of Luxembourg, has lived in Luxembourg for four years. He and his family arrived at the start of Covid, but rather than allow this to hinder developing diplomatic relationships, Ambassador Bärtl linked the song nano-textile production industry of his homeland with LuxInnovation. As a pilot, Ambassador Bärtl and AMCHAM co-organised and flew a group of NATO Ambassadors to Spangdahlem, a nearby American airbase in Germany. It's been a busy four years for Ambassador Bärtl. 2022 was the centenary of diplomatic relations with Luxembourg and the second half of the year saw the Czech Presidency of the EU. To celebrate these parallel programmes, Luxembourg inaugurated Václav Havel Street with both Prime Ministers present. At the end of February the President of the Czech Republic, Mr Petr Pavel, and his wife will visit Luxembourg, marking the first state visit with the new Luxembourg government. This visit will be accompanied by a business delegation with a focus on ICT, cybersecurity, space and defence, reflecting the geopolitical atmosphere in Europe right now. '4.48 Psychosis' by Sarah Kane “Remember the light and believe the light” 4.48 Psychosis is a one-woman play written by Sarah Kane (1971 - 1999). Despite her short life, ending in suicide, she is remembered as a powerful voice in contemporary British drama. Sarah suffered from severe depression and this work depicts some of her mental state in ‘virtuosic and precise use of language'. Some say that this piece was in effect her final goodbye. Sandy Artuso is the director and Catherine Elsen the actress in this show which you can see the show in Op Der Schmelz in Dudelange on 21 February. Subscribe to the Podcast and get in touch! You can subscribe to my podcast on Apple and Spotify. Please do rate and review too! Tune in on Today Radio Saturdays at 11am, Sundays at noon and Tuesdays at 10am.

The second part of Jonny's chat with Emily Mortimer and Alessandro Nivola recorded live at Jermyn Street Theatre introduces the potent memory and presiding spirit of Emily's extraordinary father, Sir John Mortimer. From his heckling of Sarah Kane's legendary “Blasted” to his meeting with Tom Cruise, from Alessandro's Broadway debut opposite Helen Mirren and a catalytic biting incident, from an elderly actor calling in sick to the stage door of the RSC, to sharing a dressing room with a pep-talking Bradley Cooper, to what transgression and freedom means onstage today, the spirit of Sir John was alive and well and appearing for one night only at Jermyn St theatre.Buy tickets for Jonny's next live show with Jez Butterworth & Laura Donnelly here Hosted on Acast. See acast.com/privacy for more information.

Christmas Specials Part 1 - CHRIS FROST, ROBERT RUTHERFORD & STEPHEN J GOLDS In Person With Paul - feel for location. character is king, heart and drive, high concept, transgression,  subverting the Christmas murder mystery, Indie publishing.  Chris Frost THE KILLER'S CHRISTMAS LIST - out now (20mins+)Robert Rutherford SEVEN DAYS - coming April (15mins+)Stephen J Golds THE DYING, THE DEAD & THE  GONE - out now, new edition, see Amazon. (50mins+)Publishers note: Stephen J. Golds is looking for a publisher for his upcoming Japanese novel.3 interviews for those quiet moments over the Christmas break, listen together or individually. Paul D Brazill, Trevor Wood You Can Run, Sarah Kane 4.48 Psychosis, Charles Bukowski, Raymond Carver, John Fante, Peter Swanson - The Winter Guest, Vern Smith, Matt Phillips Paul Burke writes for Crime Time, Crime Fiction Lover and the European Literature Network. He is also a CWA Historical Dagger Judge 2023.Music courtesy of  Guy Hale author of The Comeback Trail trilogy, featuring Jimmy Wayne - KILLING ME SOFTLY - MIKE ZITO featuring Kid AndersonGUY HALE Produced by Junkyard DogCrime TimeCrime Time FM is the official podcast ofGwyl Crime Cymru Festival 2023CrimeFest 2023CWA Daggers 2023& Newcastle Noir (December)

Dr. Julie McCown is an Associate Professor of English at Southern Utah University. She received her Ph.D. in English from University of Texas at Arlington in 2016 and her M.A in English from University of Texas of the Permian Basin in 2011. Her teaching and research interests are wide-ranging and include early American literature, women writers, queer literatures, and digital humanities/media theory. She also discovered a previously unknown poem by the 18th-century African American poet Jupiter Hammon, which introduced her to the wonders of archival research. Her recent publications have been about early African American literature, nineteenth-century American poetry, and nineteenth-century women's periodicals. Her current research focuses generative artificial intelligence (AI) and how to critically and ethically incorporate AI into First-Year Composition.Dr. Scott C. Knowles is an assistant professor in the Department of Theatre Arts and Dance at Southern Utah University. He received an MA from Florida State University and a PhD from the University of Kansas. His dissertation, Dystopian Performatives: Negative Affect/Emotion in the Work of Sarah Kane focused on the performative impact of violent scenes from Kane's work on the affect/emotion of an audience. He has presented this work along with research focused on race, gender, directing, and dramaturgy at conferences such as the American Society for Theatre Research, The Mid-America Theatre Conference, Theatre Symposium, and the Association for Theatre in Higher Education. He has published work with both Theatre Journal and in A Critical Companion to Lynn Nottage. His directing work focuses primarily on theatre for social change, working to involve audiences, company, and community in issues beyond the walls of the theatre through a variety of outreach approaches. In 2017, Scott was awarded SUU's Distinguished Faculty for Inclusion and Diversity Award based on his work with The Laramie Project.

durée : 00:03:37 - Le son d'Avignon - par : Marie Sorbier - Connaissez-vous Alistair McDowall? Dramaturge anglais de 35 ans, fan de Beckett, de Pinter et de Sarah Kane, il écrit pour la scène sans se soucier de ses murs et les festivaliers découvrent son écriture à Avignon.

Playwright Monica Cross is back, chatting about some of the tricks and tips she uses as a neurodivergent person when sitting down to write (and rewrite) her verse drama. CONTENT WARNING: Monica and Emily do (gently) discuss the script formatting and Monica's direction of Sarah Kane's play, 4:48 Psychosis, a brilliant contemporary verse play which does deal with mental trauma and suicidality. These are mentioned only insofar as they relate to the play. Make sure to check out Monica's previous interview: S3 E13: Monica Cross Discusses Line Endings! Monica Cross Online: https://monicaatcross.wixsite.com/theroaringgirl Monica Cross Twitter: https://twitter.com/theroaringgirl Monica Cross on New Play Exchange: https://newplayexchange.org/users/1040/monica-cross Website: hamlettohamilton.com Patreon: patreon.com/hamlettohamilton

May 19, 2023 Wastewater tells a story. It can provide a snapshot of the health of any community. Sarah Kane … More

In Episode One, we kick off the Old Fire Station's How to Write a Play course with Mike Bartlett. We discuss how to start a play, where they come from, and some exercises to use. We also talk about how playwrights and theatres can work together, and Mike answers your questions. Got a Question for Mike and Alex? Send us your updates and questions: info@oldfirestation.org.uk Show notes: Sarah Kane: https://en.wikipedia.org/wiki/Sarah_Kane The Artist's Way: https://blackwells.co.uk/bookshop/product/The-Artists-Way-by-Julia-Cameron/9781788164290 Royal Court Theatre: https://royalcourttheatre.com/ Hampstead Theatre: https://www.hampsteadtheatre.com/ Headlong Theatre: https://www.headlong.co.uk/ The Stage - “Theatres told to stop ‘ghosting' playwrights”: https://www.thestage.co.uk/news/theatres-told-to-stop-ghosting-playwrights Support the Old Fire Station: https://oldfirestation.org.uk/support-us/ Transcript available here: https://oldfirestation.org.uk/our-work/how-to-write-a-play/ Hosted on Acast. See acast.com/privacy for more information.

durée : 00:05:21 - Les Nuits de France Culture - par : Albane Penaranda - "Claude Régy, l'état d'incertitude", une sélection d'archives avec Claude Régy (1923-2019), homme de théâtre qui a marqué de son influence la scène contemporaine avec des mises en scène de textes de Sarah Kane, Edward Bond ou Georg Trakl et une approche nouvelle du jeu de l'acteur.

durée : 00:42:46 - Les Nuits de France Culture - par : Albane Penaranda - En 2002, le metteur en scène Claude Régy met en scène "4:48 Psychose" une pièce de Sarah Kane, avec Isabelle Huppert, aux Bouffes du Nord. Au micro d'Alain Veinstein, il parle de ce texte écrit au cœur même de la folie.

Sarah Kane is a self-taught artist and musician from Philadelphia who combines art and music in her performances. Her debut album, "ARTIST," set to be released in early 2023, features nine paintings and accompanying songs that blend Americana, Blues, and R&B. Kane co-produced the album with Eric Greene and the paintings took anywhere from 35 to over 200 hours to create. Kane has been surrounded by art and music from a young age, and she was influenced by bands and musicians from the ‘70s, ‘80s and ‘90s. Kane has a dual bachelor's degree in English and Music Composition from UMBC. She has taught music and art, performed in event bands, and painted portraits for clients nationwide. Kane has also been asked to teach music production and recording at Montgomery County Community College.Mentioned in the episodeSarah Kane The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episodeWelcome to the Truth In This Art Beyond: Philadelphia! Philadelphia one of the foremost creative regions in the world and this series of interviews was sparked by my curiosity about the arts and culture of the city. Subscribe Through Your Favorite Podcast PlatformApple Podcasts Spotify Google Podcasts This interview was recorded in Philadelphia, PA between September 2022-January 2023. ★ Support this podcast ★

Are you a nail tech? We have a FREEBIE for you now over at www.clawgasmic.com7 hacks you need to stress less and earn more in your businessToday we talk to the wonderful Sarah Kane from @topknotnails She is a PHENOMENAL tech but also the help she is putting out there into the industry really inspires me. It is the new year, a fresh start, a new page... make some business shifts now to make this year your best year in your business yet!Charging your worth is so important, don't be scared to up your prices, don't be scared to charge for nail art! It is a must, if everything else is going up then why shouldn't your prices too!Follow Sarah here: @topknotnailsCheck out nail order, and remember to use the code CHAN15 to save money site wideinstagram @nailordertik tok @nailorderwebsite www.nailorder.co.ukTo contact Chan for ad enquiries chan@clawgasmic.comfollow us on Instagram https://www.instagram.com/clawgasmic/subscribe to our YouTube https://www.youtube.com/c/clawgasmicJoin our family www.clawgasmic.com

The men of Art of Darkness podcast, Brad Kelly and Kevin Kautzman, join Adam to discuss Kanye and the legacy of endurance based performance art, the appeal of performance enhancing drugs, the late playwright Sarah Kane, Emil Cioran and the upcoming third season of their show. FULL EPISODE HERE SOUNDTRACK: Outpatients "TV Violence"  Big Flame "Debra" Radical Retards "Elvis" DJ Freak "Analogue Terror"  Ike and Tina "I Idolize You"  LINKS: Art of Darkness at Twitter: @artofdarkpod Kevin at Twitter: @kautzmania Brad at Twitter: @bradkelly Art of Darkness at Patreon Adam on Sarah Kane Is Kanye in the midst of a Kaufman like performanc piece? 

It's time for our jam-packed sonification sequel, which includes two interviews, 5 (!) space sounds, and a critical fourth “i” for how sonification is used in astronomy! We're first joined by Paul Green and Afra Ashram, the creators of the new sonification project Sensing the Dynamic Universe. Then Sarah Kane, a senior undergrad at the University of Pennsylvania, joins us to talk about her journey in astronomy and sonification while being legally blind. We round things out by listening to kilonovae, radio interferometers, and the atmosphere of Uranus! Is there anything we didn't discuss?    0:00 First 3 “i”s 5:05 Sensing the Dynamic Universe interview (4th “i”) 29:17 Reflections on SDU 32:14 Sarah Kane interview 55:31 Our educational sonifications   Sensing the Dynamic Universe: https://lweb.cfa.harvard.edu/sdu/index.html Our sonification astrobite from last year: astrobites.org/2021/06/17/getting-started-in-sonification/ An article about Sarah Kane (isn't she so fashionable?): omnia.sas.upenn.edu/story/disability-advocacy-and-sciences SonoUno:sion.frm.utn.edu.ar/sonoUno/ Astronify:astronify.readthedocs.io/ Twotone: twotone-midiout-beta.netlify.app Miditime (for advanced users): github.com/cirlabs/miditime

It's mid-summer and I am sure we are all hot. Could your summer be going better? In this episode we talk about our heat hacks with Sarah Kane, a fellow podcaster. Join our facebook group: www.facebook.com/groups/SpeedStriders Follow us on instagram @runningpodcast Check out our website: www.runningpodcast.us Tags of topics: #Marathon #Running #MarathonTraining #marathonnutrition #speedstriders #runningpodcast #racerecap #racereview #runner #mentaltraining #beginnerrunner #attitudeofgratitude

Our second episode starts with Pain For Sale, written by Mac Anderson-Cooper and performed by Kevin Aoussou.Afterwards, we chat with Mac about the joy of creative restrictions, A Strange Loop, and whether the ghost of Sarah Kane manifests as salad dressingAudio engineering and sound design by Bennett Pack.

Meet Cute Presents: Camp Firefly - Part 1, where campfire sparks fly between a by-the-book head counselor and a prank war-inciting boys' counselor.Story by Abigail Ann Schwarz. Directed and Produced by Elaisha Stokes. Associate Producer: Kristin Kohlmeyer. Sound Editor and Designer: Ross Brunetti. Starring: Michael Herman, Sarah Kane, Samantha Cooper, Craig First, Elaisha Stokes.Follow @MeetCute on Instagram and @MeetCuteRomComs on Twitter & TikTok. Join the rom-com conversation on our Discord.Please subscribe and rate us 5 stars!

Playwright Caridad Svich joins the Dark Room to discuss the life and work on Sarah Kane. And listen to the After Dark episode for Patreon subscribers at: patreon.com/artofdarkpod twitter.com/Csvich twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kevinkautzman

we're baaaacckk. 

Ce dont on vous parle dans cet épisode de Laisse-moi kifferPop Culture Detective (et la vidéo dont on parle)(500) jours ensemble de Marc WebbThe Take (et la vidéo)Le podcast NoCinéFleabag, the scripturesThe SopranosLa version commentée de UnorthodoxLes dramaturges Sarah Kane et Dennis KellyLa BD La jeune femme et la mer de Catherine MeurisseLa BD Leconte fait son cinéma de Nicoby et JoubLe film Les Bronzés de Patrice LeconteLe film Le magasin de suicide de Patrice LeconteLe documentaire sur Patrice Leconte sur Canal +Le film Les WC étaient fermés de l'intérieur de Patrice LeconteLe film Ridicule de Patrice LeconteÊtre tataAbonnez-vous à Laisse-moi kiffer :Sur Apple Podcasts • Sur Deezer • Sur Spotify Retrouvez l'équipe de Laisse-moi kiffer sur Instagram :Laisse-moi kifferMymyKalindiMathisAïdaCrédits :Laisse-moi kiffer est un podcast de Madmoizelle présenté par Mymy Haegel. Avec Aïda Djoupa, Kalindi Ramphul et Mathis Grosos. Réalisation, musique et édition : Mathis Grosos. Production et rédaction en chef : Mymy Haegel. Direction de la rédaction : Mélanie Wanga. Direction générale : Marine Normand. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.