Here Is Some Exciting News About a Phenomenal Group of Comics From

Total Page：16

File Type：pdf, Size：1020Kb

Here is some exciting news about a phenomenal group of comics from The Netherlands who are coming to Bath Fringe Festival on Thursday 31st May AMSTERDAM UNDERGROUND COMEDY COLLECTIVE For the last 15 years, comedian collective Comedytrain has been responsible for every major talent in Holland. The collective has its own comedy club Toomler in Amsterdam – world famous in Holland and a favourite place of top class comedians the world over. The best of the Comedytrain comedians will be performing at this year’s Edinburgh and Bath Fringe Festivals. (Don’t worry, it’s in English!) Hans Teeuwen (www.hansteeuwen.net) Arguably the most influential comedian Holland has ever seen, Hans has single-handedly changed the whole comedy scene in Holland, destroying the last remaining taboos in the process. Absurdist, very fast and not for the easily offended. Theo Maassen (www.theomaassen.nl, www.theomaassen.net) Theo manages to hit important themes through a bombardment of jokes and is also famous in Holland for his acting. A massive talent that is looking for new challenges. Hans Sibbel (www.comedytrain.nl, www.harrykies.nl) Highly energetic comedian who has had his own New Years Eve television show for the last 4 years. Ronald Goedemondt Ronald is stand-up comedy. Childishly naïve, shockingly honest and most of all hilarious. His impersonations spot on, his English impeccable. Micha Wertheim Highly intelligent, humblingly intelligent, maybe even too intelligent, but so funny! From his pedestal of knowledge and IQ he overlooks the world and gives you insights you would never have dreamed to think of yourself. Cynical, curious, on the edge and, yes, intelligent..

Copy Link

Recommended publications

Staging the Urban Soundscape in Fiction Film
Echoes of the city : staging the urban soundscape in fiction film Citation for published version (APA): Aalbers, J. F. W. (2013). Echoes of the city : staging the urban soundscape in fiction film. Maastricht University. https://doi.org/10.26481/dis.20131213ja Document status and date: Published: 01/01/2013 DOI: 10.26481/dis.20131213ja Document Version: Publisher's PDF, also known as Version of record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal.
[Show full text]
Download Detailseite
Berlinale 2007 INTERVIEW Panorama INTERVIEW INTERVIEW Regie: Steve Buscemi USA/Niederlande 2007 Darsteller Pierre Peders Steve Buscemi Länge 81 Min. Katya Sienna Miller Format 35 mm, 1:1.77 Robert Peders Michael Buscemi Farbe Maggie Tara Elders Maitre’d David Schechter Stabliste Kellnerin Molly Griffith Buch David Schechter Restaurantgäste Elizabeth Bracco Steve Buscemi, James Villemaire nach dem Film von Fan Jackson Loo Theo van Gogh, dem Fahrer Doc Dougherty Original dreh buch Kommentatorin Donna Hanover von Theodor Holman Schauspieler Wayne Wilcox und einer Idee von Politexperte Danny Schechter Hans Teeuwen Autogrammjäger Philippe Vonlanthen Kamera Thomas Kist Yan Xi Kameraassistenz M. Autumn Eakin Schnitt Kate Williams Ton Jeff Pullman Musik Evan Lurie Production Design Loren Weeks Sienna Miller Ausstattung Christina Tonkin Requisite Pastor Alvarado Kostüm Vicki Farrell INTERVIEW Maske Maya Hardinge Der Film von Steve Buscemi ist der erste Teil einer Trilogie, die auf Arbeiten Casting Shelia Jaffe Theo van Goghs basiert. Als der niederländische Regisseur am 2. November Herstellungsltg. Mark Kamine 2004 von einem religiösen Fundamentalisten ermordet wurde, war ein eng - Aufnahmeleitung Christopher Johnston lischsprachiges Remake seines Films INTERVIEW mit amerikanischen Schau - Produzenten Bruce Weiss Gijs van de spielern unter van Goghs Regie bereits in Erwägung gezogen worden. Westelaken Nunmehr werden Remakes von zwei weiteren Filmen unter der Regie von Executive Producers Nick Stiliades Stanley Tucci und Bob Balaban folgen. Ellen Verbeek INTERVIEW schildert die Begegnung des Journalisten Pierre Peders mit dem Co-Executive Boyd Willat jungen Starlet Katya während eines Interviewtermins, bei dem sich Frager Producers Bob Savage Nanette Lepore und Befragte intensiver kennen lernen, als dies von beiden beabsichtigt Al Miller war.
[Show full text]
Arxiv:2006.07283V3 [Cs.SI] 21 Dec 2020 Public Support Is Essential for the Success of Policy Measures
Dutch General Public Reaction on Governmental COVID-19 Measures and Announcements in Twitter Data Shihan Wang1, Marijn Schraagen1, Erik Tjong Kim Sang2, and Mehdi Dastani1 1 Intelligent Systems, Utrecht University, The Netherlands s.wang2, m.p.schraagen, [email protected] 2 Netherlands eScience Center [email protected] Abstract. Public sentiment (the opinions, attitudes or feelings expressed by the public) is a factor of interest for government, as it directly influ- ences the implementation of policies. Given the unprecedented nature of the COVID-19 crisis, having an up-to-date representation of public senti- ment on governmental measures and announcements is crucial. While the `staying-at-home' policy makes face-to-face interactions and interviews challenging, analysing real-time Twitter data that reflects public opinion toward policy measures is a cost-effective way to access public sentiment. In this context, we collect streaming data using the Twitter API start- ing from the COVID-19 outbreak in the Netherlands in February 2020, and track Dutch general public reactions on governmental measures and announcements. We provide temporal analysis of tweet frequency and public sentiment over the past nice months. We also identify public at- titudes towards two Dutch policies in case studies: one regarding social distancing and one regarding wearing face masks. By presenting those preliminary results, we aim to provide visibility into the social media dis- cussions around COVID-19 to the general public, scientists and policy makers. The data collection and analysis will be updated and expanded over time. Keywords: COVID-19 · sentiment analysis · Twitter data analysis · Dutch policy measures · natural language processing 1 Introduction arXiv:2006.07283v3 [cs.SI] 21 Dec 2020 Public support is essential for the success of policy measures.
[Show full text]
Chapter 4 Researching International Cultural Industries in the Netherlands
Where Corporate Culture and Local Markets Meet Music and Film Majors in the Netherlands, 1990-2005 Miriam van de Kamp The research for this book was conducted at the Faculty of History and Arts (FHKW) at the Erasmus University Rotterdam. It was co-financed by TNO Information and Communication Technology, Delft. Publisher: ERMeCC, Erasmus Research Centre for Media, Communication and Culture Printer: Ipskamp Drukkers, Enschede Cover design: Koen Verspaget ISBN: 978-90-76665-18-4 © 2009 Miriam van de Kamp Where Corporate Culture and Local Markets Meet Music and Film Majors in the Netherlands, 1990-2005 Waar bedrijfscultuur en lokale markten elkaar ontmoeten Muziek- en filmmajors in de Nederlandse markt, 1990-2005 Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. S.W.J. Lamberts and in accordance with the decision of the Doctorate Board The public defence shall be held on Thursday 25 June 2009 at 11.00 o’clock by Maria Cornelia van de Kamp born in Alphen aan den Rijn Doctoral Committee Supervisors: Prof.dr. A. M. Bevers Prof.dr. P.W.M. Rutten Other members: Prof.dr. V.A.J. Frissen Prof.dr. M.S.S.E. Janssen Prof.dr. W.C. Uricchio Co-supervisor: Dr. H.J.C.J. Hitters Contents ACKNOWLEDGEMENTS 11 INTRODUCTION 13 Three complex relationships 14 Theoretical embeddedness 15 Scope 16 Key terms 19 Outline 20 CHAPTER 1 CULTURAL GLOBALISATION 21 Globalisation 21 Approaches of cultural globalisation 22 Cultural imperialism 22 Interactive approaches on global-local relationships 24
[Show full text]
Development Programme Book of Projects 2009
Dvbook of projects 2009 Development Programme MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DIREZIONE GENERALE PER IL CINEMA In 2008, the specific aspects of the so-called TorinoFilmLab invites filmmakers to enter a “cinema system” rooted within Torino and Piedmont collaborative process throughout the whole path - characterised by numbers of successful initiatives that brings a story from the intimacy of the artist’s such as Film Commission Torino Piemonte, the mind to the possibility of sharing it with the public. National Cinema Museum, the Torino Film Festival, Script&Pitch Workshops - represented a strong At every step, there are chances to explore, to doubt, basis for the creation of a permanent international to change, to improve, and at every step, there is laboratory, TorinoFilmLab, destined to accompany someone that can listen, help, bring advice. There talents for a reasonable amount of time through is a whole bunch of people out there that can different steps: starting from when the film’s make a filmmakers’ life, if not easier, at least richer story and structure are first thought of, following in opportunities, and this mostly before the film is through the development stage, up to the process made. People who share a passion for stories, and of financing and possibly rewarding some of the are willing to help creating the right context so that selected projects with a production grant. stories can travel far: scriptwriters, story editors, directors, directors of photography, sound designers, TorinoFilmLab Thanks to the support of the Italian Ministero per producers, sales agents, distributors, financiers. i Beni e le Attività Culturali, the Regione Piemonte TorinoFilmLab works to facilitate these encounters, and Città di Torino we have found the necessary each one at the right time.
[Show full text]
Stand-Up Comedy in Je Eentje Een Zaal Vermaken
Stand-up comedy In je eentje een zaal vermaken Stand-up comedy is een uit Amerika overgewaaide vorm van theater, die inmiddels niet meer uit Nederland weg te denken is. Stand-up comedy is een kunstvorm die oorspronkelijk uit de Verenigde Staten komt. Tijdens de voorstelling houdt de comedian een monoloog tegen het publiek. Maar toch wordt het zo gebracht dat het net een dialoog lijkt. Dit 'gesprek' is in principe voorbereid en wordt meestal op een spontane manier gebracht, alsof de artiest tegen zijn vrienden praat. Timing, accenten, gelaatsuitdrukkingen, gebaren, imitaties en geluidseffecten vormen de ingrediënten waarmee de comedian speelt. Ontstaan Deze kunstvorm is ontstaan aan het begin van de jaren 50 als reactie op het bestaande amusement in Amerika. Vanaf het eind van de 19de eeuw is 'vaudeville' een belangrijke Amerikaanse theatervorm. Goochelaars, dansers, buiksprekers en comedians traden op in deze shows, die meer geïmproviseerd verliepen dan de Broadwayshows. Bezuiniging Toen het in de jaren dertig heel slecht ging met de economie (de depressie) werd het Vaudevilletheater te duur. Veel clubs sloten hun deuren, andere clubs gingen over op een theatervorm waar minder personeel voor ingehuurd hoefde te worden. Comedians moesten in hun eentje een zaal kunnen vermaken. Bovendien moest deze show een losser karakter hebben, zodat mensen zich niet geremd zouden voelen veel drank te bestellen. De inhoud van deze shows kwam meestal neer op het vertellen van moppen, die vaak niet door de comedian bedacht waren. Verandering Mort Sahl was de eerste comedian die het helemaal anders aanpakte. Hij droeg gewone kleren en sprak vrijuit over wat hem bezig hield.
[Show full text]
Filmography 2017
THOMAS KIST N.S.C. Cameraman since 1986, active member Netherlands Society of Cinematographers showreel on Thomaskist.com Drama/Feature: • 2014 “2/11 Het Spel van de Wolf” ColumnFilm/VPRO Director Thomas Korthals Altes • 2011 “Somewhere Tonight” Feature with John Turturro Director Michael DiJacomo Official Selection Karlovy Vary IFF 2011 • 2008 “Blind Date” USA version Feature Director Stanly Tucci Official selection:Sundance IFF 2008 • 2007 “Funny Dewdrop” Art Feature Director Dick Tuinder Official selection: Nederlands Filmfestival 2007 • 2007 “Interview” USA version Feature, Director Steve Buscemi Official selection:Sundance IFF, Berlin IFF Los Angeles IFF, Seattle IFF 2007, Sarajevo IFF 2007, Winner Moscow IFF • 2005 “MasterClass” mocumentary Regie Hans Teeuwen Golden Calf nomination Filmfestival Utrecht 2005 • 2005 “0605” Feature, Director Theo van Gogh Official selection: Netherlands Filmfestival • 2004 “Cool!” Feature, Director Theo van Gogh Official selection:Toronto IFF,Winner Philadelphia IFF • 2003 “Interview” Feature, Director Theo van Gogh Official selection:Toronto IFF Documentaire/Televisie: • 2016 “Onzichtbaar Nederland” VPRO documentaire serie Regie Geert Rozinga, Jan Kooyman • 2016 “De Schijn Tegen” documentaire 2Doc regie Simone de Vries • 2015 “De vele namen van Pierre Bokma” documentaire Vara regie Coen Verbraak • 2004~2016 “Top2000 mini Documentaires” serie voor het NTRprogramma Top2000 a gogo” • 2009~2017 “Kijken in de Ziel” serie door Coen Verbraak” zilveren Nipkowschijf winnaar 2010 • 2013 “Vetranen” Documentaire over nederlandse vetranen met PTSS Regie Coen Verbraak • 2013 “Eenheid in Veelheid -Maarten Spruyt” Documentaire over stylist en exhibition designer Maarten Spruyt. Regie Paul Beek • 2011 “Mission Statements” Documentaire over de Moderne Nederlandse Ambassade gebouwen. Regie Jord den Hollander • 2011 “Help! een Homo in de Klas” Documentaire over COC voorlichters op ROC’s en middelbare scholen.
[Show full text]
Cabaret Moet Tegen De Haren Instrijken”
“Cabaret moet tegen de haren instrijken” Een studie naar het veld van het Nederlandse cabaret aan de hand van de veldtheorie van Pierre Bourdieu Theodorus Johannes Hoebink Faculteit der Historische en Kunstwetenschappen Erasmus Universiteit Rotterdam Master Sociologie van Kunst en Cultuur Begeleider: Prof.dr. A.M. Bevers Tweede lezer: Prof.dr. M.E. Halbertsma April 2008 Abstract: In het veld van het Nederlandse cabaret is er een levendige discussie gaande over wat goed of slecht cabaret is. In deze discussie nemen cabaretiers verschillende posities in en zij doen uitspraken in de media over cabaret in het algemeen en over de programma’s van hun collega’s. Het doel van deze master these is om te onderzoeken wat de verschillende posities binnen in het Nederlandse cabaret zijn en door wie deze posities worden bekleed. Hierbij wordt er gebruik gemaakt van de veldtheorie van Pierre Bourdieu die stelt dat er in ieder veld van culturele productie sprake is van enkele algemene regels die de houding en gedrag van de positiebekleders kunnen verklaren. Belangrijk hierbij is dat de structuur van ieder cultureel veld wordt bepaald door de strijd tussen culturele producenten uit de autonome hoek van het veld en producenten uit de heteronome hoek van het veld. Autonoom houdt in dat de producent zich puur richt op de kunst om de kunst en commercieel succes bij een groot publiek verdacht is. Heteronoom houdt in dat inmenging van de commercie en de aandacht van een groot publiek niet verdacht is, maar juist een graadmeter voor succes. Een andere tegenstelling die de structuur van een veld bepaald is de tegenstelling tussen een hoge mate van aanzien en een lage mate van aanzien, door Bourdieu consecratie genoemd.
[Show full text]
Threeweeksin EDINBURGH
YOUR DAILY SHEET OF EDINBURGH FESTIVAL REVIEWS: #21 THURSDAY 26/FRIDAY 27 AUG IN EDINBURGH ThreeWeeksCABARET The Bongo Club Cabaret I like cabaret, especially when it’s loud, Last night’s audience colourful and funny (perhaps even making the audience participate a tad more than CALLED THE SHOW they were expecting to). By that definition, The Merm The Merrier last night’s cabaret at the Bongo Club was “about mermaids & vengeance” a wonderful experience, showcasing some of the Fringe’s most entertaining acts. Our What will tonight’s musical be? host, Dusty Limits, has a biting sense of Gilded Balloon Teviot 10.50pm humour and an incredibly luscious singing www.showstoppermusical.com voice; combine the two and what you get is a song about the ‘Twelve Days Of Fringe,’ complete with deprecating comments about student stand ups. Acts such as ‘The Not Quite Quartet’ and the ‘3 Gaga Heads’ stood out, but my personal favourite was Piff The Magic Dragon who got me on stage to do tricks with him. The Bongo Club, 7 – 30 Aug (not 14, 20), 10.15pm, £7.00 - £8.00, fpp 233. [ms] tw rating 4/5 CHILDREN’S SHOWS SNAP OF THE DAY: The Janey Godley guest edited ThreeWeeks weekly edition The Dandelion Story Modl Theatre (Korea) is out now, pick up a copy and plan your final Fringe weekend.Photo: Kate Edwards Quite simply, this show is a breath of fresh air. Amid a children’s programme packed with fairytale parodies and book adaptations, Pinocchio Indefinite Articles job game. Brilliant for all with a passion for this inventive and refreshingly insightful story COMEDY improv, but perfect for those who fear its hit involving mesmerising physical theatre really Rarely can a chunk of wood be loveable, but and miss nature.
[Show full text]
Comedy and Distinction: the Cultural Currency of a ‘Good’ Sense of Humour
Sam Friedman Comedy and distinction: the cultural currency of a ‘good’ sense of humour Book (Accepted Version) Original citation: Comedy and distinction: the cultural currency of a ‘good’ sense of humour, Abingdon, Oxon: Routledge, 2014, 228 pages. © 2017 The Author This version available at: http://eprints.lse.ac.uk/59932/ Available in LSE Research Online: September 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Introduction: Funny to Whom? In January 2011, the scheduling plans of Britain’s biggest TV station, BBC 1, were leaked to the press. After the recent success of BBC comedies such as Outnumbered and My Family, BBC1 Controller Danny Cohen apparently told his team of producers that BBC Comedy was becoming ‘too middle class’, and failing in its responsibility to appeal to working class viewers (Gammell, 2011; Revoir, 2011; Leith, 2011).
[Show full text]
Il Papa E La Pastorale Low Cost Ieri L’Aborto, Adesso Il Divorzio Breve
ILRedazione e Amministrazione: via Carroccio 12 – 20123FOGLIO Milano. Tel 02/771295.1 Sped. in Abb. Postale - DL 353/2003 Conv. L.46/2004 Art. 1, c. 1, DBC MILANO quotidiano ANNO XX NUMERO 213 DIRETTORE CLAUDIO CERASA MERCOLEDÌ 9 SETTEMBRE 2015 - € 1,50 Da Theo van Gogh a Charlie Hebdo. Anche il più noto comico olandese si autocensura e getta la spugna: “basta islam” Roma. A gennaio, dopo il massacro a Charlie Hebdo, il più famoso successa prima. Teeuwen ha detto di essere padre e che adesso deve la Giustizia Pieter Donner, che dopo quell’omicidio multiculturale si mo perso la libertà di parola. Come i cineasti che hanno dovuto cen- comico e cabarettista olandese, Hans Teeuwen, cinquant’anni passati essere più prudente. “Quel sentimento è diventato più forte in questi disse favorevole a reintrodurre la legge sulla blasfemia: “Forma una surare i lavori nelle dittature, ora dobbiamo inventare modi creativi a irridere tutto e tutti, aveva realizzato un video di quattro minuti in ultimi anni. L’artista che versa sangue di maiale su un Corano, in un car- bella squadra con Mohammed Bouyeri, che sfortunatamente non può per dire ciò che consideriamo importante senza farsi sparare e ucci- cui diceva: “Buona sera signore e signori, questo è il mio nastro suici- tone animato o in una battuta, ha un grosso problema. E’ importante essere qui con noi a causa di certi obblighi penali”, scherzò Teeuwen, dere”. Anche il vignettista preferito da Van Gogh, Gregorius Nekschot, riconoscere che la paura è lì. Ci sono persone che, nelle reazioni, mi- riferendosi al giovane marocchino che aveva tagliato la gola a Van Go- è uscito di scena.
[Show full text]
Television and Taste Hierarchy: the Case of Dutch Television Comedy
Television and taste hierarchy: The case of Dutch television comedy When applied to television, the classical distinction between highbrow and lowbrow culture does not seem to make much sense. Such hierarchical ranking of taste, drawing a clear boundary between difficult and sophisticated highbrow taste and accessible, entertaining popular taste, seems to lose much of its validity when confronted with television’s fragmented and eclectic mixture of information and entertainment; art, play and commerce. In fact, most of television’s fare consists of what is generally subsumed under the heading of popular or lowbrow culture: the large majority of television programming consists of popular entertainment genres such as comedy, soap, popular drama, pop music, or sports. There is a tendency, both in common sense and in academic thought, to simply write off the whole medium as lowbrow and popular (Seiter 1999, esp. 1-6). A very striking example, both of the low status of TV, and the (academic) prejudice against the medium, can be found in Pierre Bourdieu’s Distinction (1984). Distinction, probably the most influential work on hierarchies of taste, describes taste differences between upper, middle and working classes in France. In what is probably the central figure of the book, showing the relationship between taste, economic capital (money) and cultural capital (education), newspapers, music and movie actors are mentioned individually, and occupy very different positions (Bourdieu 1984: 128-129). However, there are no television programs in this figure. Instead, only the medium itself is in the figure, and it is somewhere down in the middle, close to potatoes, sports fishing, ordinary red wine, foremen, and an income of 21,000 franks, which is well below average.
[Show full text]