Demons That Resist Exorcism Second Generation Perspectives Barbara Dorrity P 15

Total Page:16

File Type:pdf, Size:1020Kb

Demons That Resist Exorcism Second Generation Perspectives Barbara Dorrity P 15 m "^ n Volume UII No. 10 October 1998 £3 (to non-members) Don't miss... Gombrich's blotting paper Refleaions on the deformed nationalism of parts of Europe Richard Grunberger P3 Carl Sternheim Dr Anthony GrenviHe p5 Demons that resist exorcism Second generation perspectives Barbara Dorrity p 15 ationalism is a force with a gut appeal long awaits canonisation - for his opposition to Tito's Russian underestimated by Liberals and Marxists atheist communism. N alike. However, not every manifestation of And in Brussels, the political heart of Europe, a enigma it was necessarily malignant. Flemish nationalist deputy has laid a Bill before the aifa When the French invented la patrie they also Belgian parliament to compensate erstwhile collabo­ century ago, Ls.sued a universal Declaration of the Rights of Man. rators for punishments meted out to them after HChurchill Italian unification was inspired by Mazzini's lib­ Liberation. In extenuation of their wartime conduct described Russia as eralism. In our own lifetime Catalans and Basques he conjures up a prewar spectre of Flemings as a riddle wrapped fought against Franco. .second-class citizens chafing under the misrule of a up in an enigma. Nonetheless, in the la.st war the Axis powers were French-speaking elite. The observation still immeasurably helped by the slights - real or imagi­ There may be a grain of truth in this - but to holds good today. nary - that had been inflicted on national groups in argue that exposure to relative discrimination justi­ An example is Eastern Europe. In consequence, Slovaks and Croats antisemitism which fied collaborating with occupiers who wiped out caused every third actively helped to effect the breakup of Czecho­ Belgian independence and practised total discrimi­ Jew to leave in the slovakia and Yugoslavia respectively. Lithuanians nation against millions of victims is mendacious 1980s. Even today and Latvians were sufficiently embittered by Russian logic-chopping. It is rather like comparing the synagogues are annexation to collaborate enthusiastically with the germ that spreads the common cold with the Aids attacked and copies Germans - 'even' in genocide. Hungary and Bul­ virus D of Mein Kampf sold garia itched to have post-Great War frontiers in public. redrawn to their own advantage, and so forth. Yet, at the .same Western Europe, too, witnessed collaboration time, many players born out of nationalist resentment. Within Belgium in the Kremlin rural Flanders harboured grievances against the power game are French-speaking indu.strial South and Brussels. wholly or partly Jewish. They range Though quite different circumstances obtained, in from reformers - Ireland the burden of ancient resentments engen­ Yavlinsky, Chubais, dered a similar myopia, and produced equally Nemtsov - through deplorable results. Quite apart from Lord Haw- 'facing-both-ways' Haw's Nazi broadcasts and Irish despatches from Primakov to London, De Valera's policy of neutrality worked in the oligarch Germany's favour. Berezovsky, and Today, fifty-odd years after Hitler's war, those the neo-Fascist nationalist demons have not been laid to re.st. In the Zhirinovsky. One Baltic States, veterans of the Waffen-SS parade hopes the present through the streets of capital cities. .Sovereign upheaval will not end like 1917, Slovakia disseminates history schoolbooks glorifying when Trotsky made the founder of the guards that herded Jews into the Revolution camps, as well as Hitler's puppet Monsignor TLso, as Left to rifibt: Theo am I .Anne .\tar.x irilh l.iiiUrii> Spini at .AJK's 'pioneers of nationhood'. Croatia's wartime Primate SOtk) Anniversary Cone':ert, Carl Ko.w Opera s production o/l)ie and Bronstein paid Flederiiiaus', at lk>e Qiuleen Hlizaheth Hall, which played to a full for it' D Stepinac, a pillar of the genocidal Ustasha regime, and appreciative kiouse AJR INFORMATION OCTOBER 1998 had plundered from their Jewish victims. SWISS BANKS AGREE $1.25 BILLION PAYMENT All in all, the World Jewish Congress has estimated that $14 billion would be re­ he Union Bank of Switzerland and million was rejected as inadequate. quired to return Jewish looted assets the Credit Suisse Group agreed to The investigations of the Senate Bank­ during the war, including bank accounts, Tpay the unprecedented sum of ing Committee and its high profile insurance policies, investments, jewellery $1.25 billion (i.770 million) in restitution chairman, Senator Alphonse D'Amato, and works of art. to Holocaust survivors, their heirs and the helped to expose the Swiss cover-up, as Within 90 days of the court's final sanc­ descendants of victims, in response to a did the US Government's historical re­ tion it is intended that the first payment joint court action in New Jersey, USA. It view, led by Under-Secretary of State of $250 million be made. A further three was brought by representatives of 31,000 Stuart Eizenstat, which unequivocally instalments will then be paid at annual survivors. Prior to the outbreak of World documented damning evidence of Swit­ intervals. As part of the agreement, these War II, the money had been deposited zerland's complicity in the Nazi war payments will represent the settlement into the safekeeping' of Swiss bank machine. The action of the Union Bank of all claiins made against all Swiss accounts. of Switzerland security guard Christopher banks and industry, including the Swiss For half a century after the war Swiss Meili in rescuing Holocaust-related National Bank. banks largely denied the existence and records he had unlawfully been ordered The Jewish Chronicle believes that extent of such accounts, and made the to destroy, undermined the banks' cred­ several months will elapse before any impossible demand of heirs that they had ibility and added immeasurably to the Holocaust survivor receives a payment. A to produce death certificates for their moral standing of the plaintiffs' cause. system has yet to be devised by the relatives who had perished in concen­ Pressure brought by the threat of finan­ World Jewish Restitution Organisation to tration camps. cial sanctions from some 20 American inform potential claimants throughout the Three years ago the World Jewish Con­ states - among them New York, New world and grant them the opportunity to gress launched a campaign for the return Jersey, Florida and California - and from register their opinions and claims. Any of these 'dormant accounts'. Faced with a 30 US local authorities, finally helped to final disbursement plan, whether to indi­ potentially huge lawsuit in the USA, the secure the agreement. viduals or to organisations representing Swiss banks began negotiations with the In addition to unacknowledged ac­ those in need, will require ratification by World Jewish Congress earlier this year, counts, the SwLss National Bank profited Judge Edward Korman whose court arbi­ though talks broke down temporarily in from the laundering of millions of dol­ trated the agreement. the summer after a final offer' of $600 lars-worth of gold which the Germans n RonaW Channing was appointed to a full-time post at Profile Wembley United Synagogue. For the next ten years he was at the centre of thi-s warm and appreciative community, work­ Melody man ing in close co-operation with both Ralibi antor Stephen Robins has Berman and his successor Rabbi Abranis. an enviable reputation in the As well as devoting himself to all aspects C Anglo-Jewish community and of a mini.ster's life, he was invited to sing beyond for the sheer pleasure of his in most of north London's newer ortho­ melodic tenor voice, often heard as guest dox communities and founded what chazan at wedding, barmitzvah or bat became the Shabbaton Choir. chayil ceremonies. In 1986 he responded to a call from Stephen was born in Lytham St Anne's Edgware Synagogue, serving one of in 1944 where his cabinet-maker father Europe's largest communities, and devel­ and his mother had been evacuated from oped his teaching of voice production London during the war. He made his solo and cantorial studies (on which he lec­ debut in the synagogue when only six tures at Jews' College), taking his guest Cantor Stephen Robins years old and his talents - he was also an appearances into Europe, Israel and the accomplished pianist - were recognised literally an act of faith; to experience at States. by benefactors who sponsored singing first hand the burdens and joys of life- Stephen Robins established himself as ;i lessons. cycle events and to commit himself to freelance cantor and teacher last year and At the age of 18 he came to London communal service 24 hours a day. He now takes services and gives recitals in with his mother, making a living as a enrolled at Jews' College to train as a what he calls the global village' - from singer, pianist and cabaret artist, .supple­ chazan, at the same time taking up a Eilat to New York. He has just recorded mented with work in Hatton Garden's part-time position at Yeshurun Synagogue his first CD, singing a wide selection of jewellery trade. He formed a group in Edgware, soon after meeting his wife- chazanut, including modern works and called the Sundowners in which he to-be Rosalind. Stephen further enhanced Israeli and Chasidic pop. His fine voice, played the double bass! his reputation, being in great demand at backed by Stephen Glass and his choir, By the time he was 27 Stephen had de­ Friendship Clubs and JACS. make a highly pleasurable collection. cided on a complete change of direction, On graduation in 1976 Cantor Robins URDC AJR INFORMATION OCTOBER 1998 Jewish contribution to Austrian culture Gombrich's was very patchy, 1 trace that back to his 'astigmatic' vision. Had he looked at early NEWTONS blotting paper twentieth, instead of nineteenth, century Leading Hampstead Solicitors n a recently published lecture, Professor music he would surely have taken cog­ 22 Fitzjohns Avenue, E.
Recommended publications
  • Listen Carefully
    1 Listen Carefully Ellen Foyn Bruun1 Norwegian University of Science and Technology NTNU, Drama and Theatre Studies Abstract Voice and sounding is an integrated element in dramatherapy, as in acting and life in general. In this article I reflect on voicework that focuses on the intimate relationship between breathing, sounding and an embodied sense of self. The notion of listen carefully emphasises the receptive aspect of arts practice and introversion as a foundation for authentic and healthy expression. I address ‘the presence of absence’ and our ability to listen with awareness to what is implicit and not yet made conscious. I have been inspired by feminist philosopher Adriana Cavarero who proposes a philosophy of voice that challenges logo-centric Western philosophical thinking. Her work underpins the relationship between voice and identity. I shall draw from my experience of three different approaches that integrate vocal somatic exploration and a holistic approach to life and health. These are the legacy of Roy Hart and Alfred Wolfsohn, Movement with touch and sound (Sesame), and Fitzmaurice Voicework®. This article caters for a broad professional community that is interested in the field of voice in drama and theatre practice for educational and therapeutic purposes. Key words: dramatherapy, voicework, healthy self-regulation, philosophy of voice, Roy Hart and Alfred Wolfsohn, Sesame approach, Fitzmaurice voicework® Introduction Each individual has their unique way of breathing which for most people enables sounding. As dramatherapists we relate to body, breathing and voice in many ways. This article will present how voicework has become a core field of interest for me as a drama practitioner, teacher, therapist and researcher.
    [Show full text]
  • THENEWYORKER.Pdf
    A 1940 self-portrait of Salomon (1917-1943), whose autobiographical work “Life? or Theatre?” is an early example of the graphic novel. Courtesy the Jewish Historical Museum © Charlotte Salomon Foundation n February, 1943, eight months before she was murdered in Auschwitz, the I German painter Charlotte Salomon killed her grandfather. Salomon’s grandparents, like many Jews, had !ed Germany in the mid-nineteen-thirties, with a stash of “morphine, opium, and Veronal” to use “when their money ran out.” But Salomon’s crime that morning was not a mercy killing to save the old man from the Nazis; this was entirely personal. It was Herr Doktor Lüdwig Grünwald, not “Herr Hitler,” who, Salomon wrote, “symbolized for me the people I had to resist.” And resist she did. She documented the event in real time, in a thirty-"ve-page letter, most of which has only recently come to light. “I knew where the poison was,” Salomon wrote. “It is acting as I write. Perhaps he is already dead now. Forgive me.” Salomon also describes how she drew a portrait of her grandfather as he expired in front of her, from the “Veronal omelette” she had cooked for him. The ink drawing of a distinguished, wizened man—his head slumped inside the collar of his bathrobe, his eyes closed, his mouth a thin slit nesting inside his voluminous beard—survives. Salomon’s letter is addressed, repeatedly, to her “beloved” Alfred Wolfsohn, for whom she created her work. He never received the missive. Nineteen pages of Salomon’s “confession,” as she called it, were concealed by her family for more than sixty years, the murder excised.
    [Show full text]
  • Why Do Singers Sing in the Way They
    Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor.
    [Show full text]
  • The Future of the German-Jewish Past: Memory and the Question of Antisemitism
    Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 12-15-2020 The Future of the German-Jewish Past: Memory and the Question of Antisemitism Gideon Reuveni University of Sussex Diana University Franklin University of Sussex Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the Jewish Studies Commons Recommended Citation Reuveni, Gideon, and Diana Franklin, The Future of the German-Jewish Past: Memory and the Question of Antisemitism. (2021). Purdue University Press. (Knowledge Unlatched Open Access Edition.) This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. THE FUTURE OF THE GERMAN-JEWISH PAST THE FUTURE OF THE GERMAN-JEWISH PAST Memory and the Question of Antisemitism Edited by IDEON EUVENI AND G R DIANA FRANKLIN PURDUE UNIVERSITY PRESS | WEST LAFAYETTE, INDIANA Copyright 2021 by Purdue University. Printed in the United States of America. Cataloging-in-Publication data is on file at the Library of Congress. Paperback ISBN: 978-1-55753-711-9 An electronic version of this book is freely available, thanks to the support of librar- ies working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books Open Access for the public good. The Open Access ISBN for this book is 978-1-61249-703-7. Cover artwork: Painting by Arnold Daghani from What a Nice World, vol. 1, 185. The work is held in the University of Sussex Special Collections at The Keep, Arnold Daghani Collection, SxMs113/2/90.
    [Show full text]
  • JANUAR UND FEBRUAR 2019 02|03 Aktuell EXPLORE DANCE: LUCIA GLASS’ POPUP-STÜCK AUFFÜHRUNGEN | PROJEKTE 06.02
    JANUAR UND FEBRUAR 2019 02|03 aktuell EXPLORE DANCE: LUCIA GLASS’ POPUP-STÜCK AUFFÜHRUNGEN | PROJEKTE 06.02. PROBEBÜHNE EINS S. 05 Ab Januar arbeitet die Hamburger Choreographin Lucia Glass im Rahmen von explore dance – Tanzpakt Stadt-Land-Bund als Artist in Residence an der Stadtteilschule MOVING HEADS S. 08 Blankenese. Dort entwickelt sie ihr mobiles und an verschiedensten Orten spielbares 14.01. HANS-JÖRG KAPP | EVA RESCH EXZESSIVE KLANGREDUKTION S. 06 25.01. OMAR RAJEH ZEITGENÖSSISCHER TANZ IM LIBANON PopUp-Stück Die Choreographie der Dinge und Geräusche (AT). Gemeinsam mit S. 10 28.01. ESSENTIALS TRANSITIONPROZESSE IN DER TANZKARRIERE Schüler*innen verschiedener Jahrgangstufen erforscht sie die Wirkung von Gegen- S. 09 11.02. RALF PETERS DIE EXTREME STIMME ständen und ihren Geräuschen auf unsere Bewegung und erprobt die Verbindung S. 07 19.02. ROUND TABLE TANZ MIT SCHULE zwischen zeitgenössischem Tanz, somatischer Körperpraxis und der eigenen Wirk- samkeit auf der Bühne. Premiere wird die Arbeit voraussichtlich Ende April feiern, WORKSHOPS S. 11 17.01. - 23.03. VHS-KURS TANZ IM GESPRÄCH S. 12 pünktlich zu unserem Festival explore dance - Tanz für junges Publikum (Save the 25.01. MASTERCLASS TANZTHEATER WUPPERTAL PINA BAUSCH S. 10 date: 30.04. - 04.05.2019). 29.01. CAROLIN ECKERT TRANSITIONBERATUNG S. 12 EMPOWERING DANCE 01.02. LEHRER*INNENWORKSHOP MOVING GENDER PROFITRAINING S. 13 Vom 09. bis 11.01. findet am K3 das erste intensive Arbeitstreffen des in dieser Spielzeit 14.12.18 - 06.01.19 TRAININGSPAUSE neu im Rahmen des EU-Programmbereichs Erasmus+ gestarteten Forschungsprojekts 07. - 10.01. RAKESH SUKESH PAYATT INTRANSIT Empowering Dance – Developing Soft Skills statt.
    [Show full text]
  • The Deadly Power of the Living Voice
    The Deadly Power of the Living Voice Thorey Sigthorsdottir Sustained Indepented Project MA in Advanced Theatre Practice Central School of Speech and Drama 20th September 2012 ! "! Index 1. The Beginning 2. The Background 3. Methodology 4. The Voice Workshop 5. $%&!'()&*+&,-& 6. The Results Bibliography Appendice A Nadine George. Appendice B Guy Dartnell ! #! 1. The Beginning ‘With these battlefield voices, there was no limitation of range, their voices expressed and screamed terror and agony through every range.’ (Wolfsohn: Braggins: Harrow Times book reviews 10th May 2012) These are the words of Alfred Wolfsohn, describing in writing his experience as a young man, of listening to his fellow soldiers dying in the battlefields of the First World War. A survivor of the war but these sounds hunted him as well as his traumatic experience and he lost his singing voice. This experience led him into exploration of the voice in a totally new way. A life changer for many of his students and a pioneer of the exploration of the phenomenal of the human voice and its expression. The stories of Wolfsohn and his followers Roy Hart and my work with Roy’s follower Nadine George are the inspiration for my interest in exploring the possibilities of the voice as a creative tool in devising theatre. ! When I started my research for theatre groups that were using the voice in a specific way devising theatre I came across names as The Roy Hart Theatre, Grotowski Institute, Odin Teater, Song of the Goat, Guy Dartnell, TeatrZar, and The Pan Theatre Paris, to name some.
    [Show full text]
  • 20Th-Century Repertory
    Mikrokosmos List 585. - 2 - April 2014 ....20TH-CENTURY REPERTORY 1 Absil, Jean: Piano Works (Impromptus, Esquisse, Les Echecs) - P.Stevens pno ALPHA DB 57 A 10 2 Adams, John: Grand Pianola Music/Reich: 8 Lines, Vermont Counterpoint - Solisti EMI EL 270291 A 12 New York, cond.& fl R.Wilson S 3 Amemiya, Yasukazu: Summer Prayer, Monochrome Sea/Morton Feldman: The RCA RVC 2154 A 12 King of Denmark - Y.Amemiya percussions (Japanese issue) (1977) S 4 Amy, Gilbert: Cahiers d'epigrammes/Boucourechliev: 6 Etudes d'apres HARMONIA M HMC 5172 A 25 piranese/Manoury: Cryptophonos/Xenakis: Mists - Helffer pno (gatefold) 1985 S 5 Andriessen, Hendrik: Philomela/Pijper: Halewijn/Sem Dresden: Francois 8 x RADIO NEDE RN 475 A 50 Villon/Badings: Martin Korda operas excs - cond.Otterloo, Eichmann, de Nobel 10" 6 Anhalt, Istvan: Foci (ms, instr ens), Cento (choir) - Mailing ms, cond.comp S CBC 357 A 10 7 Ansermet: 7 Chansons/Stravinsky: Chansons Plaisantes, Berceuse du chat/J.Binet: GALLO 30214 A 12 Chansons - Retchistzka, Huttenlocher, cond.Dunand S 8 Antheil: Vln Son (I.Baker vln, Yaltah Menuhin pno)/E.Goossens: Vln Sonata Op.21 MUSIC LIBR MLR. 7006 A 12 (Michaelian vln, V.L.Hagopian pno) (plain jacket) 9 Bakikhanov: 3 Sonatas for Vla & Pno - Aslanov, Abdullaev 1988 S MELODIYA C10 29869 A 15 10 Bardos, Lajos: Mass 1, 3; Motets, Hymns - cond.A.Vinczeffy (1989) (gatefold) S RADIUS HUN BP 137 A 12 11 Barraine, Elsa: L'Homme sur Terre, Premier Mai/Kosma, Joseph: Si nous mourons; REM 10899 A 10 Chanson pour les enfants l'hiver; Parade des Cocqueleux, Les Canuts
    [Show full text]
  • Giving Voice Bro 09 2
    International Festival of the Voice 2009 18 - 26 April, Wroclaw, Poland HARMONIC ACCORD: ENCOUNTERS THROUGH SONG SPOTKANIE W PIESNI´ 2 Giving Voice 11 stanowi specjaln edycję festiwalu; Giving Voice International Festival of the Voice współorganizuj go Center for Performance Research Contents z Walii oraz Instytut im. Jerzego Grotowskiego we Harmonic Accord Wrocławiu.Tegoroczny festiwal odbywa się w ramach Venues & Access - 2 obchodów Roku Grotowskiego 2009. Encounters through Song Przez 7 dni Wrocław będzie go´scił niespotykan ró˙znorodno´s´c tradycji Giving Voice 11: A festival of extraordinary voices from around the world including those from: Armenia, Austria, głosowych całego swiata:´ Armenii, Austrii, Korsyki, Gruzji, Gwinei, Iranu,Włoch, Harmonic Accord - 3 Corsica, Georgia, Guinea, Iran, Italy, Kurdistan, Mongolia, North America, Palestine, Poland, Kurdystanu, Mongolii, Ameryki Północnej, Palestyny, Polski, Sardynii, Serbii, Sardinia, Serbia, Spain, the Ukraine and Wales. Hiszpanii, Ukrainy oraz Walii. Calendar - 4 Poprzez dzielenie się ideami oraz praktyk w ramach ró˙znych warsztatów, How to Create Giving Voice springs from a strong events programmed for the Year of our questions embrace: aesthetics; pokazów i dyskusji, festiwal gromadzi praktyków, nauczycieli, teoretyków, belief in the voice’s ability to Grotowski 2009 in addition to this technique; the culturally specific; uzdrowicieli zainteresowanych prac z głosem, którzy niekoniecznie mieli Your Own Experience - 4 communicate beyond language and special edition of Giving Voice, matters of repertoire; archaism and the okazję do spotkania na drodze swej praktyki. Workshops - 5 - 14 cultural difference, and that working information of which may be found on relationship of tradition to innovation with the voice can allow people, from www.grotowski-institute.art.pl.
    [Show full text]
  • Love, Art Spiegelman's Maus and Orly Yadin's
    Opticon1826, Issue 9, Autumn 2010 MODES OF REPRESENTING THE HOLOCAUST: A DISCUSSION OF THE USE OF ANIMATION IN ART SPIEGELMAN’S MAUS AND ORLY YADIN AND SYLVIE BRINGAS’S SILENCE By Jessica Copley Abstract Since Theodor Adorno’s famous dictum that ‘to write poetry after Auschwitz is barbaric’, the issue of whether it is ethical to represent the Holocaust in art, and if so, the means by which it is ethical to do so, has constituted one of the major polemical discourses of our time. Prominent questions such as ‘Who has the right to try and represent the Holocaust?’, ‘How should we represent the Holocaust?’ and ‘How can we address the issue of responsibility in a post-war world?’ have motivated artistic representations and the critics who discuss these representations. In this essay, I aim to consider the success of two works which employ the somewhat controversial format of animation in dealing with aspects of testimony, trauma, language and responsibility. The first, Art Spiegelman’s 1984 comic book strip Maus, anthropomorphised Germans into cats and Jews into mice in order to narrate events experienced by Spiegelman’s father, Vladek, during the war and the postbellum father-son relationship. Although Maus was initially criticised for its use of the comic book format, traditionally viewed as adolescent, it later went on to receive the Pulitzer Prize for its literary success and as such provided a benchmark for the potential of animated formats. The second, Orly Yadin and Sylvie Bringas’s 1998 animated short film Silence, combines two styles of animation and a small amount of archival footage to tell the story of Tana Ross, a child survivor of Theresienstadt (Terezin) who, hidden by her grandmother during the war, escaped Auschwitz.
    [Show full text]
  • My Life with the Voice
    My Life with the Voice Introduction What I am setting out to do in this essay is to explain something of the history of my work with the voice and Shakespearean text over the last 40 years or more: from my introduction to the teachings of Roy Hart, through the creation of my own technique, to the development of this technique within Europe. I actually began working on the voice and classical text at the age of seven, with my school voice teacher, Miss Mitchell, and at seventeen I went to the Central School of Speech and Drama to train as an actress. (Cicely Berry was my voice teacher there). In 1962, while I was at Central, I was introduced by Paul Silber to a man called Roy Hart, who was doing research work on the human voice. Roy was a white South African who had won a Scholarship to RADA in the 1940s, and had gone on to become a psychologist and an actor. During his time at RADA, Roy had met Alfred Wolfsohn, a singing teacher who had developed his own approach to work on the human voice. Alfred Wolfsohn and Roy Hart Alfred Wolfsohn was a German Jew who, at 18 years old, fought in the First World War. After the war he was broken in body and soul by his experiences, like so many young men at the time. What Wolfsohn remembered most were the cries of the dying soldiers, and he asked himself how could there be such life in the voice of someone who is dying.
    [Show full text]
  • Pervasive Media and Eudaimonia Transdisciplinary Research By
    Pervasive Media and Eudaimonia Transdisciplinary Research by Practice Jacqueline Anne Calderwood Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Awarded by De Montfort University September 2017 Table of Contents 2 Table of Contents Table of Contents 2 Table of Figures 10 Table of Tables 17 Abstract 18 Dedication 20 Acknowledgements 21 Chapter 1: Opening 26 1.1 Research Question 27 1.2 Opening 29 1.3 Aim and Objectives 29 1.31 Aim/Problem 29 1.32 Objectives 30 1.33 Area of Research 30 1.4 Brief Summary of How I Have Addressed my Aim and Objectives 31 1.41 Brief Overview of Approach 31 1.411 Approach to Writing 32 1.412 Introductory Mention: Transdisciplinarity 33 1.413 Introductory Mention: Eudaimonia 34 1.414 Introductory Mention: Symmathesy 35 1.415 Introductory Mention: Anthroposensory Sculpture 36 Jacqueline Anne Calderwood Pervasive Media and Eudaimonia Table of Contents 3 1.416 Introductory Mention: Clean 37 1.42 Brief Overview of Practice 39 1.421 Evidence of Practice: Portfolio and Appendices 40 1.422 Introduction to Soundlines 41 1.423 Introduction to Experimental Walks 45 1.424 Introduction to Colour Grids and the Colour Grid Methodology 50 1.425 Introduction to Hunter Gatherer 54 1.426 Introduction to Living Voices 57 1.427 Introduction to Clean Research Interviews 60 1.5 Contribution of New Knowledge 62 1.51 Beneficiaries of This Research 63 1.6 Overview of Chapters 65 Chapter 2: Location 66 2.1 Invitation 67 2.2 The Meeting Point 67 2.3 Technologies 76 2.31 Stochastic Tinkering:
    [Show full text]
  • Making Van Gogh a German Love Story 23 October 2019 to 16 February 2020
    PRESS RELEASE MAKING VAN GOGH A GERMAN LOVE STORY 23 OCTOBER 2019 TO 16 FEBRUARY 2020 Städel Museum, Garden Halls Press preview: Monday, 21 October 2019, 11 am #MakingVanGogh Frankfurt am Main, 12 September 2019. From 23 October 2019 to 16 February Städelsches Kunstinstitut 2020, the Städel Museum is devoting an extensive exhibition to the painter Vincent und Städtische Galerie van Gogh (1853–1890). It focuses on the creation of the “legend of Van Gogh” Dürerstraße 2 around 1900 as well as his significance to modern art in Germany. Featuring 50 of his 60596 Frankfurt am Main Telefon +49(0)69-605098-170 key works, it is the most comprehensive presentation in Germany to include works by Fax +49(0)69-605098-111 [email protected] the painter for nearly 20 years. www.staedelmuseum.de PRESS DOWNLOADS AT MAKING VAN GOGH addresses the special role that gallery owners, museums, newsroom.staedelmuseum.en private collectors and art critics played in Germany in the early twentieth century for PRESS AND PUBLIC RELATIONS the posthumous reception of Van Gogh as the “father of modern art”. Just less than Pamela Rohde Telefon +49(0)69-605098-170 15 years after his death, in this country Van Gogh was perceived as one of the most Fax +49(0)69-605098-188 important precursor of modern painting. Van Gogh’s life and work attracted broad and [email protected] lasting public interest. His art was collected in Germany unusually early. By 1914 Franziska von Plocki Telefon +49(0)69-605098-268 there was an enormous number of works by Van Gogh, around 150 in total, in private Fax +49(0)69-605098-188 [email protected] and public German collections.
    [Show full text]