DOCSLIB.ORG

International& Europe

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International& Europe PLAYSVol 31 Nos 4 - 6 £8.90 / €12.90 / $15.90 ISSN 0268 2028 SUMMER 2016 INTERNATIONAL & EUROPE Thinking Beyond National Borders Israeli director Ofira Henig interviewed by Doron Elia P52 Theatre in Palestine Karma Zoabi P56 The 2016 Europe Theatre Prize, a report Sergio Lo Gatto P36 PLUS The Pacific Playwrights UK, EUROPE, CHINA, Festival NORTH AMERICA, Robert Cohen P72 AUSTRALIA UK Drama Schools REPORTS, PICTURES Jeremy Malies P10 & LISTINGS CONTENTS 4 London Preview Peter Roberts 5 What’s On In London Features 10 UK Drama Schools Jeremy Malies LONDON 12 Neil Dowden at Shakespeare’s Globe 14 Neil Dowden at The Threepenny UK Drama Schools, a report Opera by Jeremy Malies 16 Christine Eccles at Les Blancs; People, Places & Things and With applicant-to-place ratios of at least 7:1, Blue/Orange being accepted at a major drama school in 18 John Russell Taylor at The Flick the UK is harder than winning a place at and The Suicide Oxford or Cambridge Universities. Full 20 John Russell Taylor at Dr Faustus and Stone Face scholarships are rare, and after three years of 22 Jeremy Malies at The Truth study graduates can be left in debt to the 24 Peter Roberts at the English tune of £40,000 as they struggle in a National Opera notoriously competitive sector. Is formal UK REGIONS study worth the sacrifices? How much 26 Crysse Morrison in the Southwest support do drama schools provide to 28 Jeremy Malies in the Southeast students during their first few years in the 30 Basil Abbott in East Anglia industry? Who are the leading providers of 32 Nick Ahad in the North 34 Hugh Rorrison in Scotland training for technical theatre-makers such as lighting and set designers? EUROPE Page 10 36 The Europe Theatre Prize 2016 Sergio Lo Gatto 38 Danielle Byrne in Dublin 40 Barry Daniels in Paris Ofira Henig.Photo:Gerrard Allon 44 Hans-Jürgen Bartsch in Berlin 46 Ludovico Lucchesi Palli in Vienna Director Ofira Henig 48 Maggie Rose in Milan PLAYS INTERNATIONAL & EUROPE interviewed by Doron Elia 50 Sergio Lo Gatto in Rome Published by Theater Research Institute of Europe (TRIE, asbl) Ofira Henig is one of Israel’s outstanding MIDDLE EAST Registre de Commerce et des Sociétés directors, and yet she also has close ties to ISRAEL Luxembourg F5191 174A, rue de Kirchberg, L-1858 Luxembourg Germany and other German-speaking 52 Thinking Beyond National Borders: Telephone +352 2637 5954 European countries, New York, and London. Ofira Henig interviewed by Doron EDITOR: Dana Rufolo Elia BUSINESS MANAGER: Axel Hörhager Here she talks to a fellow Israeli artist to 54 Michael Ajzenstadt in Jerusalem EDITORIAL & SUBSCRIPTIONS: explain how she switched from being the TRIE, asbl darling of the establishment theatre to PALESTINE Seehalde 1 56 Karma Zoabi in Palestine D-78464 Constance, Germany becoming an independent director with Telephone + 49 7531 807 52 24 no financial or contractual ties to the CHINA Website: www.playsinternational.org.uk Email:[email protected] Israeli state. 58 Impressions of Guangzhou Opera House - John Russell Taylor ©2016 Theater Research Institute of Europe Page 52 Printed by Welshpool Printing Group, Printing House, Severn Farm Enterprise Park, AUSTRALIA Welshpool, Powys, SY21 7DF 60 Margaret Leask in Sydney Designed by Charisma Creative, visit www.charismacreative.co.uk CANADA Whilst every care is taken of manuscripts and 62 Jon Kaplan in Toronto material supplied for publication in Plays 64 Malcolm Page in Vancouver International & Europe (whether editorial or for advertising), neither the publishers nor their agents accept responsibility for loss or damage that may USA occur. No one may reproduce any material without 66 Glenda Frank in New York the written permission of the copyright holder. 68 Robert Schneider in Connecticut PLAYS INTERNATIONAL & EUROPE ISSN 0268 2028 70 Lawrence Bommer in Chicago is published quarterly for $100 (USD) per year 72 Robert Cohen in Los Angeles by Theater Research Institute of Europe (TRIE, asbl), Seehalde 1, D-78464 Constance, Germany. Postage Paid at Middlesex New Jersey Postmaster, FRONT COVER: TRIE asbl c/o PO Box 177 Middlesex, New Jersey 08846. US Agent: Pronto Mailers Photo by Oliver Rosser and The Jamie International, 200 Wood Ave, Middx New Jersey Lloyd Company of Kit Harington in a 08846. Postal Registration Number USPS 008-997. critically much maligned Doctor Faustus at the Duke of York Theatre. Read the review on page 20. MIDDLEEAST Thinking Beyond National Borders Ofira Henig interviewed by Doron Elia fira Henig has had a long Haifa, Al-Midan, was rich with kicked off the stage.” history as an Israeli theatre visual images, mixed musical In 2002 Henig was appointed Odirector, but increasingly genres, and a babble of languages. to the prestigious position of she dedicates herself to As is Henig’s style, the Artistic Director of drama and elaborating transnational themes performance took place in a dance at the Jerusalem for her performances and theatre simple space, with a very clear International Festival. But because projects.This is particularly the border between the show and the of her tendency to provoke she case in three of her most recent audience.The production accepted to become the director theatre projects, Yes, Stand Out of addressed how different political of The Laboratory, a new My Sun (2012), Three Dog Night systems deal with a person experimental theatre in Jerusalem, (2016), and a dramatic reading of choosing to end his life through a in 2004. She made this a place for Gotthold Ephraim Lessing’s Nathan hunger strike. collaboration between the Wise (Nathan der Weise, 2016). But Ofira Henig was not multicultural authors. Her first Yes, Stand Out of My Sun is a always so international in her production was Oscar Wilde’s research-based performance outlook. Born in 1960 on a Kibbutz, Salome, featuring an ethnically conceived by Henig that examines unlike most of Israel's young mixed group of actors. how both historically and directors she never worked in Today, she remembers the contemporaneously artists are fringe theatres but began her shape of her career in this way:“I influenced by the political career in the country's began as a young director at Tel circumstances of their era. It establishment theatre in 1989. She Aviv’s Hebrew language national toured in Israel, Berlin and Baden became recognized after directing theatre Habima. I worked for 25 in Germany, Liechtenstein, and two plays by French authors which years in the big institutions in Tel Ofira Henig.Photo:Gerrard Allon Zurich, Switzerland. Three Dog indirectly comment on the war in Aviv and Jerusalem and was an Night opened in Israel and Algeria and its impact on French Artistic Director of a few theatres. I travelled to Germany. It was a society The Return to the Desert was very successful and got all the trilingual international by Jean-Marie Coltez at important awards; I was a sort of issue. Genocide is terrible and it coproduction with the European Jerusalem’s Khan Theatre in 2001 Wunderkind. It was very good to happens all over the world, and we Centre for the Arts HELLERAU and Jean Genet’s The Screens at have those conditions, and I have to care about the entire Dresden, in cooperation with the Habima National Theatre in learned a lot and developed as an world.That was what I was told at Berlin’s Deutsches Theater,Tel 2002. The Return to the Desert artist. But now, Israel has changed. home.” Aviv’s Goethe Institute and Cameri won the 2001 Play of the Year We don’t have the same freedom Ofira Henig’s decision to theatre and Lilach The Israel award of the Israel Theatre Prize we used to have.The system is not stage a reading of Nathan der Society to Live and Die with and also earned Henig the title of permitting us to have a long Weise in February 2016 in Tel Aviv, Dignity. As the website of the Director of the Year. The Screens creation period or to deal with Beersheba, Acco, and Jerusalem is HELLERAU theatre explains, the was understandably controversial. deep ideas. Everything has to be not surprising since Lessing’s play, play, which was written by Henig At one point in the play, Hadijah, quick, simple, and clear. I can`t published in 1779, condemns herself, deals with self- an old Arab woman called Hadijah work like this, and I don`t want to religious bigotry and propagates determination not only in life but (played by Liat Goren) speaks of work like this.The very right wing ideals of tolerance and humanism. also in the choice of when and her hatred from the depths of government is restricting our The Nazis banned the play, and how to die.The performance suicidal despair. IN an emotionally freedom of speech. So I chose to today it is one of the most popular challenges the spectator to ask moving scene, she declares,“My leave. I only work in independent plays on the German stage. I how we can speak of a dignified hatred is stronger than their contexts. I don`t take money from attended a reading of Henig’s death when life itself lacks dignity. weapons.”I saw this production the government; I do not want to version of Nathan der Weise at The three female characters and remember her speech even partake in their ideas about Acco’s Alternative Theatre located speaking Hebrew, Arabic or today. creativity. I don`t want to co- in the middle of the medieval German gather around a dying About Ophira Henig’s work in operate with the status quo.
Load more

Recommended publications
  • The Emile Zola Chair for Interdisciplinary Human Rights Dialogue Will Strive to Strengthen the Human Rights Ethos, Values and Forces in the Israeli Society
    VISION The Emile Zola Chair for Interdisciplinary Human Rights Dialogue will strive to strengthen the human rights ethos, values and forces in the Israeli society. It will do so through interdisciplinary educational, cultural and research activities; dissemination of relevant information, support for and cooperation with NGOs committed to human rights and existing human rights centers in Israeli academic institutions, and the encouragement of individuals whose work for human rights is exemplary, in Israel. The Chair honors the legacy of Emile Zola. Emile Zola was a fiction writer. It is not, however, for his artistic endeavors but for his humanistic stand; his ability to "speak truth to power" when that truth had few friends; his willingness to pay a personal price (which included loss of membership otherwise granted at the much coveted Academie Française; a criminal trial, conviction and exile) that he is remembered. This stand, and "the March for Truth" that he initiated with his J'Accuse had an enormous impact in terms of both democracy (the real winners of the "Dreyfus Affair" – the happy end of which put to rest the ancient regime – are democratic governance and the values of freedom of speech, free press and humanity). In a sense, the essential ethos of what does it mean to be a person committed to humanity and human rights, of the impact a person can have and of the wider significance of that impact, can be taught through this story. Establishing the Emile Zola Chair for Human Rights not only reflects a moral duty and pays a debt of honor, it also serves as a reminder, a model and a sign of hope: it is to remind the Israeli society that the national enterprise need not be carried out at the expense of a humanistic commitment to marginalized communities; that its very existence has been thus nourished.
    [Show full text]
  • Final Report 240210
    Towards A Strategy for Culture in the Mediterranean Region EC Preparatory document Needs and opportunities assessment report in the field of cultural policy and dialogue in the Mediterranean Region A study1 prepared for the European Commission by Fanny Bouquerel and Basma El Husseiny November 2009 1 Diclaimer: This publication has been produced with the assistance of the European Union. The contents of this publication are the sole responsibility of Basma El Husseiny and Fanny Bouquerel for the society Berenschot and can in no way be taken to reflect the views of the European Union 1 Acknowledgements The experts would like to thank all the interviewees who gave their time to answer the questionnaires. 2 Table of Contents 1. Introduction ................................................................................................... 5 2. Executive Summary .................................................................................... 12 Context...................................................................................................................13 A Consultative Process ..........................................................................................16 1. Cultural Policy and Capacity of the Cultural Sector in the South Med Region ...................................................................................................................................17 1.1 Cultural Policies ...............................................................................................17 1.2 Capacity of the Cultural
    [Show full text]
  • 8Th Festival International New Drama 6 – 9 November 2008 | Focus Palestine
    //////////////////////////////////////////////////////////////////// F.I.N.D. 8 Zeit.Genossen * F.I.N.D. 8 8th Festival International New Drama 6 – 9 November 2008 | Focus Palestine * sirtu ’atamanna: lau ’anni: nabata! »Sometimes I’d rather be a plant« from »No, he is not dead« by Hussein Barghouti /////////////////////////////////////////////////////////////////////////1 F.I.N.D. 8 //////////////////////////////////////////////////////////////////// Welcome! After the focus of last year’s festival on Israeli theater, the current 8th Alongside the readings in German, two guest performances will afford Festival of International New Drama (F.I.N.D.) returns once again to the Berlin audiences the rare experience of hearing the Arabic language on Levant, that coastland from which Zeus – in mythic times and in the stage. »In Spitting Distance« by Taher Najib, and »A Memory of Forget- shape of a bull – abducted the princess Europa and took her to the fulness« by Mahmoud Darwish are two internationally regarded theatri- West. The consequences of that act are well known: her brother Kad- cal productions which take on the question of Palestinian identity. mos followed her, brought writing to Greece and became the forebear »Ramallah’s Lions« is a short performance by Wafa Hourani on daily life of Oedipus, whose fate inspired one of the most important dramas of in Ramallah under the second Intifada, which is presented with three world literature. actors from the Schaubühne. Wajdi Mouawad, a French-Canadian playwright from Beirut, has traced A further focal point of the festival is the three pieces from Scandinavia these complicated family histories between the Near East and the which are based on documentary material.
    [Show full text]
  • The Performative Utterance “I” Theatricality and Subversion of Identity in the Works of Eyal Weiser Sharon Aronson-Lehavi
    The Performative Utterance “I” Theatricality and Subversion of Identity in the Works of Eyal Weiser Sharon Aronson-Lehavi Eyal Weiser is an Israeli playwright and theatre director whose works complexly interrogate and explore constructions of Israeli identity, first and foremost by addressing Israeli identity/(ies) as constructions. His works thus offer a critique of historical, social, and cultural processes that were (and are) intended to instigate and naturalize an idea of a collective Jewish-Israeli identity. By unmasking identity as a construction — as a result of ideological, educational, and political mechanisms — Weiser’s works destabilize the borders between lies and truth, fiction and real- ity, and fabrication and authenticity. Over the past decade, Weiser has emerged as a significant Sharon Aronson-Lehavi is Chair of the Department of Theatre Arts at Tel Aviv University and Academic Director of the TAU Theatre. She is the author of Street Scenes: Late Medieval Acting and Performance (Palgrave Macmillan, 2011) and Gender and Feminism in Modern Theatre (Open University Press, in Hebrew, 2013), editor of Wanderers and Other Israeli Plays (Seagull Books, In Performance series, 2009), and coeditor with Atay Citron and David Zerbib of Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century (Bloomsbury, 2015). TDR: The Drama Review 61:4 (T236) Winter 2017. ©2017 22 New York University and the Massachusetts Institute of Technology Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00690
    [Show full text]
  • Josef Sprinzak – Voice, Sound and (Visual) Performance Art Curriculum Vita
    Josef Sprinzak – Voice, Sound and (Visual) Performance Art Curriculum Vita Born 1962 Lives and works from Tel-Aviv Contact Information Mail: Mr. Josef Sprinzak, Daphna 24/4, Tel-Aviv 6492922, Israel E-Mail: [email protected] Tel: +972-54-8128768 Education 2013-2014 Hebrew University in Jerusalem, School of Arts, Post Doctoral Research. 2003-2011 University of Ben-Gurion in the Negev, PhD. in Theory of Art. 1990-1993 The School of Visual Theater, Jerusalem, Theater and Performance Art. 1988-1990 Hebrew University, Jerusalem M.Sc. in Computer Science. 1984-1986 Hebrew University, Jerusalem B.Sc. in Computer Science. Selected Performances, Venues and Projects 2014 – “The Replacement”, Performance action in the Israeli Art exhibition, part of “ECHO: VOICE MUSEUM ACTION” in the Tel Aviv Museum of Art, Curator: Danna Heller. 2014 – “The Shining – A Live Sound Play for Speaking Lights”, Live audio- visual Performance, “Dybbuk” event in “Mamuta” Center for Art and Media, Jerusalem, Curators: Salamanca and Guy Biran. 2014 – “Map Song”, Sound performance, “Borderline” event in “Mamuta” Center for Art and Media, Jerusalem, Curators: Salamanca. 2013 – “Jerusalem Wordscape (at night)”, Sound Installation, Notre Dame Center in Jerusalem, “Iconophilia” event. Curators: Lea Abir and Smadar Keren. 2012 - “What my grandmother said to Franz Josef”, Performance and Sound Installation, international group exhibition “Galicia, Mon Amour”, BWA Sokol Art Gallery, Nowy Sacz, Poland, Curator: Danna Heller. 2011 – "Bedtime Stories and Lullabies", Performance project in front of children in rural villages in northern Portugal, "Vozes de Magaio" Project organized by Binarual, Portugal, Curator: Luis Costa. 2011 – Sound Installation based on radio play "Many Said Yes", Bat-Yam Museum of Art, in group exhibition "Schooling", Curators: Tali Tamir, Meir Tati.
    [Show full text]
  • F.I.N.D. 2011 – Festival of International New Drama
    F. I.N. D. 2011 3-13 March 2011 Festival of International New Drama Schaubühne am Lehniner Platz > F.I.N.D. 2011 – Festival of International New Drama Herzlich willkommen! Welcome! Bienvenue! Добро пожаловать! !Tervetuloa نيلرب يف ًالهسو ًالهأ !Bienvenidos¡ ברוכים הבאים With F.I.N.D. 2011 the Schaubühne continues an important tradition My sincere thanks to the organisers at the Schaubühne and to all of inviting theatre directors from all over the world to Berlin and pro - the sponsors who help make this festival such an invaluable asset viding us with insights into their current work. to theatre. Over the years, not only has an international network evolved, but Berlin welcomes all participants of the 11th Festival of International also the basis for continuing fruitful exchange has been established. New Drama. We wish them a memorable stay in Berlin, a productive The Berlin public has a wonderful opportunity to experience the latest festival with many inspiring, theatrical experiences and exciting en - plays and productions from the international theatre community and to counters. meet eminent artists first-hand. This year there is also an important ad - ditional element: with »F.I.N.D. plus«, the festival has created a platform Klaus Wowereit where young professionals can meet and work with experienced theatre Governing Mayor of Berlin, patron of F.I.N.D. 2011 professionals. ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Over the past ten years, the Festival of International New Drama With »F.I.N.D. plus« the Schaubühne is taking a stand against the usual has become indispensable for anyone in Berlin who wants to en - performance stress and lack of contact which characterise many other gage with the most important practitioners of international theatre.
    [Show full text]
  • Encyclopedia of Invisible, Unknown and Ghostly Knowledge Produced by BLACKMARKET for USEFUL KNOWLEDGE and NON-KNOWLEDGE NO 12
    Encyclopedia of invisible, unknown and ghostly knowledge produced by BLACKMARKET FOR USEFUL KNOWLEDGE AND NON-KNOWLEDGE NO 12 The Blackmarket knowledge is offered in the following languages: Arabic, English, French, German, Hebrew, Italian, Polish INVISIBLE KNOWLEDGE Communication Gadi Algazi was born in Tel Aviv in 1961. He is an associate professor at the Department of History, Tel Aviv University, and senior editor of the journal “History & Memory.” He is also a member of the editorial board of the journals “Past & Present” and “Historische Anthropologie”. In 1980, during his military service, he refused to serve in the occupied territories and was sentenced to one year in jail. He lives in Tel-Aviv with his three children. (Heb.) “And Thou shall tell your son” - On Oral History in Palestinian Society Yigal Halfin is a senior lecturer at the Department of History, Tel-Aviv University, specializing in the history of modern Russia in general, and Stalinism in particular. His research deals with testimonies, confessions and interrogation documents that are stored in the Russian archives, open to the public only since the early 90s, following the fall of the Soviet Union. He has published many books, among them “The Stalinist Purges” (Resling). In the past, Halfin lead workshops on how to steal books. (Eng., Heb., Rus.) On the Party’s Sofa - Bolshevik Confessions in Light of Christianity and Psychoanalysis Ethics Yechiel Bar Ilan is a senior lecturer at the Faculty of Medicine, Tel Aviv University, and internal medicine specialist. He teaches medical ethics and philosophy, and is head of Meir Hospital Ethics Forum. He publishes on human rights, bioethics, art & medicine, and collects paintings and images with medical themes, especially the figure of the doctor.
    [Show full text]
  • Gemeindeblatt Новости Еврейской Общины
    GEMEINDEBLATT JÜDISCHE GEMEINDE ZU BERLIN · MÄRZ 2011 · 14. JAHRGANG NR. 132 · 2,50 € НОВОСТИ ЕВРЕЙСКОЙ ОБЩИНЫ БЕРЛИНА Die Jüdische Gemeinde zu Berlin und Bambinim laden ein zu Wir laden herzlich ein PURIM IN DER zur Purim-Feier der Synagoge Oranienburger Straße FAMILIE am Sonntag, 20. März 2011 im Großen Saal der Oranienburger Straße. So 20. März 16 – 18 Uhr Kleiner Saal im Gemeindehaus 10 Uhr Schacharit-Gebet Fasanenstraße 79 – 80 ca. 11.30 Uhr Megilla-Lesung 10623 Berlin 16 – 17 Uhr Im Anschluss Kostümschau und essen wir gemeinsam Suppe, Gesichter anmalen Hamantaschen und die von Euch Basteln der besten mitgebrachten Salate. Krachmacher Tanzen Gegen 13 Uhr beginnt ein 17 – 17.45 Uhr Purim-Maskentheater Für die Kinder: mit Ariella Hirshfeld und Ingrid eine musikalische Purimgeschichte Braun. Optional für die Eltern: Vortrag mit Rabbiner Tovia Ben Chorin zum Thema »Rachegefühle im Judentum« Kommt und lasst uns 17.45 – 18 Uhr zusammen feiern! Buffet für alle mit Hamantaschen und Früchten Wir freuen uns auf Eure Kostüme! Für Kinder im Alter von 3–6 Jahren + deren Eltern Rückfragen bitte an Dalit Mann, Eintritt: 1 Kind + 1 Erwachsener = 8 €, jede zusätzliche Person 2 € [email protected] Anmeldung über [email protected] oder T. 530 975 85 (begrenzte Teilnehmerzahl!) oder 030-88028-253 INHALT · СОДЕРЖАНИЕ Inhalt Содержание jüdisches berlin Gemeindeblatt 4 | Liebe Gemeindemitglieder! 4 | Дорогие члены Общины! V.i.S.d.P. 5 Religion 5 Религия Präsidium der Repräsentantenver- 5 | Rabbinerin Gesa Ederberg über 6 | Раввин Геза
    [Show full text]
  • Download This PDF File
    doi: https://doi.org/10.26262/gramma.v22i1.6234 THE TROJAN WAR ON THE CONTEMPORARY WESTERN STAGE: TRANSVERSAL READINGS Sylvie Jouanny Theatre replays the past in the present. What does it tell us of the Trojan War, that symbolic event in Greek culture? This paper offers a reflection on the imaginary and the portrayal of the Trojan War on the contemporary western stage based on the last twenty years’ drama criticism in the newspaper Le Monde, on published and unpublished pieces over the same period and on essays about the original phe- nomenon and, more generally, its handing down. The subject has usually been ap- proached with some measure of realism: a mimetic treatment has little interest for audiences, but an oneiric, poetic, mythological approach may spark an enthusiastic response. This more symbolic aesthetic makes the Trojan War an archetypal con- flict which inspires a theatrical search for answers but also a message of hope: what should we conclude/how can we reconcile them both? q n the words of Malraux in Les Conquérants, “the Renaissance created Antiquity as much as Antiquity created the Renaissance” (1928). If Iour times, essentially preoccupied with modern issues, preclude such comparisons, we can at least enquire into contemporary perceptions of An- tiquity and their incorporation in our heritage. The Trojan War, iconic peri- od of Greek culture, constitutes fertile ground for study: its ten years of war, its controversial historical authenticity, its retelling through the Iliad and the Odyssey, its events, and its participants, both real and epic, which begin in the realms of vaudeville, with Helen’s abduction, and finish in those of fairy tales, the Greek victory at the end of a turbulent campaign and an unforget- table stratagem ..
    [Show full text]