DOCSLIB.ORG

Barbican Centre Annual Review 2006/07

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Barbican Centre Annual Review 2006/07 London Symphony Orchestra port monuments arts festivals historic markets Guildhall School of Music & Drama arts funding City residents Barbican Centre churches City police Museum of London open spaces Barbican Centre Annual Review 2006/07 The 2006 Barbican Annual Review The City of London is the world’s leading international financial and business centre, a global powerhouse at the heart of the UK’s economy. City of London The City of London Corporation supports and promotes the City and the businesses within it. It sustains all the needs of a 24-hour city and helps position it for the future. Its mission is to ensure that the City continues to thrive and retains its place as Europe’s financial capital. and the The Barbican Centre is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation. / Barbican www.cityoflondon.gov.uk 07 2 Barbican Annual Review 06/07 53 The City of The Barbican’s London and vision and tbc the Barbican mission The Barbican Centre is provided by the City of London Driving the arts by leading, challenging and entertaining Corporation as part of its contribution to the cultural life of audiences through an imaginative, diverse and stimulating London and the nation. This contribution also includes the programme, offering quality, diversity and innovation, open Guildhall School of Music & Drama, Tower Bridge and the and accessible to all. Guildhall Art Gallery as well as sponsorship of numerous organisations, festivals and events. Satisfying our audiences by creating a welcoming and friendly environment that provides a total quality experience While providing local government services for an area not throughout the Centre, offering education and outreach, much larger than a square mile, the City Corporation commits expanding our audiences and exceeding our visitors’ more resources to arts and culture than any local authority, expectations. making it one of the most significant arts sponsors in the UK. This crucial leadership and vision is something it shares with its Serving our business clients through the provision Barbican Centre of high-quality facilities to meet their commercial and promotional needs and setting such high standards that Unafraid to experiment and bringing talents from around companies will consistently return to us and recommend us the world, the Barbican Centre has transformed itself into to others as a premier venue. a cutting-edge, world-famous resource with a global perspective. The Barbican’s 25th birthday year has provided Knowing our business by making the best use of resources a perfect opportunity to discover the wonderful diversity of its provided by the City of London, by being efficient and international arts programme. effective in everything we do so that the worlds of business www.cityoflondon.gov.uk and the arts recognise and respect us for our achievements. www.barbican.org.uk Barbican Annual Review 06/07 3 Chairman’s foreword 04–05 Annual Review Managing Director’s introduction 06–07 Contents Recent awards and nominations 08–09 From Rio to Dublin via New York and Russia / Artistic Director’s report 10–13 Barbican’s 25th Birthday 14–17 ‘The Barbican is like a cathedral to ideas.’ Voyage of discovery / Head of Education’s report 18–21 Michael Rosen, Poet New arts initiatives 22–27 Promotions and commissions 28–33 A new era for the LSO / LSO Managing Director’s report 34–35 ‘Doing Something Different’ pays dividends / Head of Marketing’s report 36–37 Barbican’s new look reinforces it’s identity and brand 38–41 Putting customers first and supporting the arts / Commercial and Venue Services Director’s report 42–45 From the engine room of the Barbican / Projects and Building Services Director’s report 46–47 Harnessing creativity / Human Resources Director’s report 48–49 Cover: New Barbican Front Door on Silk Street © Morley von Sternberg Taking greater risks to reach new heights / Financial Director’s report 50–53 Inside back cover: The Barbican within The City © Morley von Sternberg Opposite: The Barbican within the City of London, taken from Lauderdale Tower, Barbican Estate © Morley von Sternberg 4 Barbican Annual Review 06/07 ‘Under the directorship of Sir John Tusa the Centre’s output has been far from bunker-like. Generous funding from the City of London helps, but so does the mixing of sure-fire sell-outs with eclectic work. Nicholas Kenyon, the Controller of the BBC Proms who is now set to be the Barbican’s next Director, inherits a building where there is always something rich and strange going on.’ The Guardian, ‘In praise of the Barbican’, 3 March 2007 Barbican Annual Review 06/07 5 This year has been a momentous one for the Barbican in so many This year saw a strong financial performance alongside an ways. Gaining a front door, in time for the 25th birthday artistically outstanding programme. For several years, Barbican Chairman’s celebrations, was symbolic. The Barbican’s strengthened sense of has generated 80% of the programme in-house, in sharp contrast identity is now proudly emblazoned on its threshold – ‘art, theatre, to the 10% when Tusa started, and this year the Centre took even music, dance, film, education, conferences, library, restaurants and greater artistic risks. Its first panto, Dick Whittington and his Cat, bars’. Over 25 years, the Barbican has matured into a national was a resounding success, drawing thousands of families to the foreword icon. It is now embedded in London’s cultural map as the largest Centre, many for the first time. We are proud that the Barbican arts centre in Europe with one of the freshest, most vibrant now earns 45% of its annual revenue through its own efforts at the programmes. In the City of London Corporation, we are proud box office and in its vigorous commercial activity. that it has become an international symbol of creative innovation at the heart of a thriving financial metropolis. However, the biggest highlight was the birthday itself, with HM The Queen’s return to the Centre, 25 years after she opened it, the The completion of the 7-year, £35 million refurbishment has been City’s Lunch for the Arts at Mansion House and the Do Something a catalyst for a wider appreciation of the Barbican’s architecture. Different weekend, when the foyers were overrun with families. Architectural firm Allford Hall Monaghan Morris has sensitively brought out so many of the original features revealing the merits Above all, the recent customer services awards testify to how well of the original design. Their redesign was recognised by a RIBA this organisation is run and what a huge asset the helpful front-of- Regional Award this year. This is an impressive achievement. house staff have been in making the Barbican such a welcoming environment and the foyers a vibrant meeting place for all. Sir John Tusa’s dozen years at the helm as Managing Director, which ends this summer, has contributed hugely to the Though it is with great sadness that we have to say goodbye to Sir transformation of the Barbican and to making it a beacon of John Tusa, he leaves the Barbican in an excellent state for excellence. This is what Tusa has stood for and fought for, with Nicholas Kenyon to take over on 1 October. There is tremendous exceptional results. With Graham Sheffield as Artistic Director, excitement about the Barbican’s future direction, not least with the Tusa set about modernising the Centre, both artistically and visualisation of the Barbican’s new cultural quarter – the Guildhall organisationally. He has surrounded himself with a committed, School of Music & Drama, its new development in Milton Court passionate team who marry strong business sense with artistic flair. and LSO St Luke’s at the end of Whitecross Street. Together they consolidated the artistic programme under one management and created the Barbican’s template for unique So congratulations to all the staff at the Barbican for making this programming, multi-arts festivals and cross-genre events. year such a resounding success. Finally, I would like to thank my fellow Committee members who give generously of their time and The 25th Birthday celebrations gave everyone – the public, commitment in supporting the Barbican and in working to ensure artists and media alike – a chance to look back at how the Centre that it continues to thrive. Here’s to the next 25 years! came into existence and to evaluate its achievements. Hundreds of patrons wrote in to the 25th website. Many of their comments John Barker OBE are printed throughout this report and can be viewed at Chairman www.barbican.org.uk/25. The City’s initial post-war dream of Barbican Committee creating a residential community in the heart of the City with its own international arts centre, was a sharp reminder that no one would ever build on such a scale again in this country. This unique View across the Barbican Estate and the City of London, taken from Lauderdale Tower, Barbican Estate Barbican Estate Tower, Lauderdale from London, taken and the City of the Barbican Estate across View Sternberg von © Morley Chairman John Barker, vision of a utopian world has not lost its edge. 6 Barbican Annual Review 06/07 When they complete their term serving in a foreign capital, British ambassadors traditionally write a final despatch to the Foreign Managing Secretary summing up their time in post. Traditionally, they are allowed a good deal of latitude in expressing their opinions about the country with which they have been involved. Director’s At the end of almost 12 years as Managing Director of the Barbican Centre, I feel in a very similar position to a departing ambassador.
Load more

Recommended publications
  • September 2019 Diary London Museums Galleries
    BLUE BADGE TATE SOUTHWARK CATHEDRAL www.tate.org.uk 020 7887 8008 (rec. info) Main 7887 8888 www.southwarkcathedral.org.uk GUIDES’ DIARY TATE BRITAIN 020 7367 6734 Permit required for photography 020 7367 6700 Daily: 10.00-18.00. Mon-Sat 0800-1800 (le1730) Sun 1100-1700 (le 1630) To: 6/10: Mike Nelson: The Asset Strippers: Free Grps 10+ special rates depending on whether guided tour required. 11/9-2/2: William Blake: The Artist:£18/£17 Grps : Ad £4.50, Conc £3.50, Ch 1-11 £2.00 Grps 020 7367 6734. SEPTEMBER 2019 24/9-5/1: Mark Leckey: O’Magic Power of Bleakness:£13/£12 Trade: Ad £3.50. Concs £3.00 Ch £1.75 (incl BBTGs – book direct) TATE MODERN Services: Mon-Sat. 0800 (0900 Sat), 0815 HC (0915 Sat), 1230, 1245HC LONDON Sun-Thur: 10.00-18.00; Fri-Sat: 10.00-22.00 1730 Choral Evensong (1600 Sat) – said Mon/Wed To:8/9: Natalia Goncharova:£16/£15 Sun 0845, 0900 HC, 1100 HC, 1500 CHoral Evensong, 1830 ‘At Southwark’ To: 27/10: Takis: £13 Suns. 1st Trad CHoral EucHarist, 2nd Service of LigHt, ART GALLERIES To 5/1: Olafur Eliasson:£18/£17 3rd Wholeness and Healing, 4th Compline/EucHaristic Devotion To:13/9: Magdalena Abkanowicz Organ recital every Mon 1300, music recital everyTues 1515 BARBICAN ART GALLERY Closures: No information available at time of going to press, check website www.barbican.org.uk 020 7638 4141 WHITECHAPEL GALLERY Sun-Wed 10.00-18.00 Thu-Sat 10.00-21.00. www.whitechapelgallery.org 7522 7888 TEMPLE CHURCH The Curve: Sat-Wed: 11.00-20.00 Thurs/Fri: 11.00-21.00 Tue-Sun 11.00-18.00; Thur 11.00-21.00; Adm Free.
    [Show full text]
  • National Dimensions
    ONS NATIONAL DIM NATIONAL DIMENNATIONAL DIMENSIONS NAL DIMENSIONS DIMENSIONS NATIO This report was researched and written by AEA Consulting: Magnus von Wistinghausen Keith Morgan Katharine Housden This report sets out the collaborative work undertaken by the UK’s nationally funded museums, libraries and archives with other organisations across the UK, and assesses their impact on cultural provision across the nation. It focuses on the activities in recent years of members of the National Museum Directors’ Conference (NMDC), and is largely based on discussions with these institutions and selected partner organisations, as well as on a series of discussion days hosted by the NMDC in different regional centres in July 2003. It does not make specific reference to collaborative work between NMDC organisations themselves, and focuses on activities and initiatives that have taken place in the last few years. For the sake of simplicity the term ‘national museum’ is used throughout the report to describe all NMDC member organisations, notwithstanding the fact that these also include libraries and archives. In this report the term ‘national’ is used to denote institutions established by Act of Parliament as custodians of public collections that belong to the nation. It is acknowledged that the NMDC does not include all museums and other collecting institutions which carry the term ‘national’ as part of their name. Specific reference to their activities is not contained in this report. Published in the United Kingdom by the National Museum Directors'
    [Show full text]
  • London Calling: BBC External Services, Whitehall and the Cold War 1944- 57
    London calling: BBC external services, Whitehall and the cold war 1944- 57. Webb, Alban The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1577 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] LONDON CALLING: SSC EXTERNAL SERVICES, WHITEHALL AND THE COLD WAR, 1944-57 ALBAN WEBB Queen Mary College, University of London A thesis submitted in partial fulfilment of the requirements of the University of London for the degree of Doctor of Philosophy (Ph.D) 1 Declaration: The work presented in this thesis is my own. Signed: '~"\ ~~Ue6b Alban Webb Declaration: The work presented in this thesis is my own. Signed: Alban Webb ABSTRACT The Second World War had radically changed the focus of the BBC's overseas operation from providing an imperial service in English only, to that of a global broadcaster speaking to the world in over forty different languages. The end of that conflict saw the BBC's External Services, as they became known, re-engineered for a world at peace, but it was not long before splits in the international community caused the postwar geopolitical landscape to shift, plunging the world into a cold war. At the British government's insistence a re-calibration of the External Services' broadcasting remit was undertaken, particularly in its broadcasts to Central and Eastern Europe, to adapt its output to this new and emerging world order.
    [Show full text]
  • Download Applications for Smartphones
    City Research Online City, University of London Institutional Repository Citation: Ntalla, Irida (2017). The interactive museum experience: investigating experiential tendencies and audience focus in the Galleries of Modern London and the High Arctic exhibition. (Unpublished Post-Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17280/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Interactive Museum Experience: Investigating experiential tendencies and audience focus in the Galleries of Modern London and the High Arctic exhibition Irida Ntalla Ph.D. Thesis This thesis is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Culture and Creative Industries. Centre for Culture and Creative Industries Department of Sociology School of Arts and Social Sciences January 2017 i Table of Contents Introduction ...................................................................... 1 i.
    [Show full text]
  • Wuorinen Printable Program
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide.
    [Show full text]
  • PRESS RELEASE the Goldsmiths' Company Becomes a Founding
    PRESS RELEASE The Goldsmiths’ Company becomes a Founding Partner of the new Museum of London and pledges £10m donation Queen Elizabeth II Coronation Cup, designed by Goldsmith R.Y. Goodden in 1953 is pictured in the Corporation of London’s current salt store, which by 2022 will have been transformed into galleries at the new Museum of London in West Smithfield with the Thameslink track running through them. Image © Museum of London. Collection: The Worshipful Company of Goldsmiths. The Museum of London and the Worshipful Company of Goldsmiths (one of the major City Livery Companies) today announced that the Goldsmiths' Company is to become a Founding Partner of the new Museum of London, due to open in West Smithfield in 2022. The Goldsmiths' Company and its affiliated Charity have pledged £10 million to the Museum project. This landmark donation goes towards the Museum’s plans to create a spectacular new home for the history of London and its people in the beautiful but disused market buildings at West Smithfield. This follows the news earlier this year that the City of London Corporation and Mayor of London have together pledged £180 million. Counting the donation from the Goldsmiths’ Company and its affiliated Charity, the Museum has £60 million left to raise. A gallery bearing the Goldsmiths’ name will be at the heart of the new Museum, showcasing the Cheapside Hoard together with highlights from the Company’s world-renowned Collection of historic and contemporary silver. Judith Cobham-Lowe, Prime Warden of the Goldsmiths' Company, said: "We are thrilled to be playing our part in the new Museum of London as a Founding Partner.
    [Show full text]
  • MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4Pm
    MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4pm Due to the indisposition of Christina Bock, Rachael Lloyd sings Wellgunde in today’s performance. Rachael Lloyd has sung Alisa (Lucia di Lammermoor) and Kate Pinkerton (Madama Butterfly) for The Royal Opera. Other appearances include Mrs Anderssen in Sondheim’s A Little Night Music (Théâtre du Châtelet, Paris), the title role of Carmen (Raymond Gubbay Ltd at Royal Albert Hall), Miss Jessel in The Turn of the Screw, Third Lady in The Magic Flute and Pitti-Sing in The Mikado (ENO), Amastris in Xerxes (ETO, Early Opera Company), Maddalena in Rigoletto (Iford Arts), Aristea in L’Olimpiade (Buxton Festival), Meg Page in Falstaff (Glyndebourne on Tour), Woman/Mother in Dove’s The Day After (ENO Baylis) and Cornelia in Giulio Cesare (Glyndebourne Festival). Notable concert performances include Rossini’s Stabat Mater (Ulster Orchestra), Dido and Aeneas (Spitalfields Festival), Messiah (Kristiansund), Ravel’s Trois Poèmes de Stéphane Mallarmé (LPO) andSchumann’s Frauenliebe und - leben and Elgar’s Sea Pictures (Opéra de Lille). Plans include Selene in Berenice (Royal Opera). The rest of the cast remains the same with German tenor Stefan Vinke as Siegfried, Swedish soprano Nina Stemme as Brünnhilde, Austrian baritone Markus Butter as Gunther, Danish bass Stephen Milling as Hagen, American soprano Emily Magee as Gutrune, Scottish mezzo-soprano Karen Cargill as Waltraute, German baritone Johannes Martin Kränzle as Alberich, British contralto Claudia Huckle as First Norn, For all Royal Opera House press releases visit www.roh.org.uk/press German soprano Irmgard Wilsmaier as Second Norn, Norwegian soprano Lise Davidsen as Third Norn, Australian soprano Lauren Fagan as Woglinde and English mezzo-soprano Angela Simkin as Flosshilde, conducted by Antonio Pappano.
    [Show full text]
  • ZGMTH - the Order of Things
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bangor University Research Portal The Order of Things. Analysis and Sketch Study in Two Works by Steve ANGOR UNIVERSITY Reich Bakker, Twila; ap Sion, Pwyll Zeitschrift der Gesellschaft für Musiktheorie DOI: 10.31751/1003 PRIFYSGOL BANGOR / B Published: 01/06/2019 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Bakker, T., & ap Sion, P. (2019). The Order of Things. Analysis and Sketch Study in Two Works by Steve Reich. Zeitschrift der Gesellschaft für Musiktheorie, 16(1), 99-122. https://doi.org/10.31751/1003 Hawliau Cyffredinol / 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 ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 09. Oct. 2020 ZGMTH - The Order of Things https://www.gmth.de/zeitschrift/artikel/1003.aspx Inhalt (/zeitschrift/ausgabe-16-1-2019/inhalt.aspx) Impressum (/zeitschrift/ausgabe-16-1-2019/impressum.aspx) Autorinnen und Autoren (/zeitschrift/ausgabe-16-1-2019/autoren.aspx) Home (/home.aspx) Bakker, Twila / ap Siôn, Pwyll (2019): The Order of Things.
    [Show full text]
  • Museum of London Museum of London Mastertop, Ucrete Location: London (United Kingdom)
    Project: Museum of London Museum of London MasterTop, Ucrete Location: London (United Kingdom) Owner/s: Corporation of London Applicator/Contractor: Surtec Designer/Architect/Specifier: Corporation of London – Design Team Market sector: Public buildings Products used & amounts: MasterTop 1325, MasterTop 1325/REG, MasterTop 1324/Flake, MasterTop 1255 Our reference in London (United Kingdom): Museum of London Stone Carpet, MasterTop DAP, The background The challenge Ucrete UD200 This extensive project at the Museum of The ability to provide many solutions from a London, one of the world’s largest urban single source was an important contribution history museums, involved a £ 20 million to the creative continuity of each area’s design. investment in the new Galleries of Modern Hygiene and an easy-to-clean surface were London and the Clore Learning Centre. The also essential requirements. Many different new permanent exhibitions transport the areas needed to meet a range of aesthetic visitor through the capital‘s tumultuous history demands. Varying substrates were found in the from 1666 to today, through five galleries and existing structure, some of them extremely 7,000 objects. The installation of a number old. A durable, comfortable flooring system of Master Builders Solutions from BASF was further needed to minimise footfall noise. resin flooring systems by Surtech enabled the museum to use different flooring finishes in the same environment as a holistic part of each new exhibition area. Aesthetics and performance were crucial to the specification. Contact: BASF plc, Construction Chemicals Earl Road, Cheadle Hulme, Cheadle, Cheshire, SK8 6QG T: 0161 485 6222 F: 0161 488 5220 Museum of London MasterTop, Ucrete Our reference in London (United Kingdom): Museum of London Our solution Project facts at a glance The comprehensive range of MasterTop and Ucrete resin § Scope of project: 3,000 m².
    [Show full text]
  • The Life and Times of a Czech-Born Broadcaster Who Became An
    BRIDSH I CZECH AND SLOVAK REUIE/J The life and times of a Czech-born broadcaster who became an English knight by Angela Spindler-Brown John Tusa, Making a Noise, Getting it Right, Getting it Wrong in Life, Broadcasting and the Arts 'TUSA Weidenfeld & Nicolson, London 2018 ISBN 978 1 47 460708 7 or many in London John Tusa, and partly financed by the Foreign Office. Newsnight presenter and manag­ He insists that any service, especially the ing director BBC World Service BBC can only be changed if one loves between 1980-1993, has been a what it does and wants to strengthen it and FCzech with perfect,faultless English, both improve it. spoken and written, and impeccable man­ And the World Service did go from ners. But his autobiography Making a strength to strength under his manage­ Noise says very little about his Czech her­ ment. He says that he "was the first man­ itage for there isn't much to tell. aging director who could say that he knew He came to London as a three-year-old­ what was being broadcast in Britain's boy, escaping with his mother from the name in languages other than English." Nazis as Czechoslovakia was being occu­ He demanded that the foreign language pied in 1939. His father, director of Bata broadcasts say exactly the same as the shoe enterprises, set up their English original news in English. home in a detached house in east Essex However unexpected issues were and Czechoslovakia was left behind. encountered when precise translations English became the language to be from English were to be made in the 37 used: "Officially we didn't speak Czech at languages the BBC broadcast to the C,n,n� It Right, Gettin); It Wrong home.
    [Show full text]
  • The Magic Flute Programme
    Programme Notes September 4th, Market Place Theatre, Armagh September 6th, Strule Arts Centre, Omagh September 10th & 11th, Lyric Theatre, Belfast September 13th, Millennium Forum, Derry-Londonderry 1 Welcome to this evening’s performance Brendan Collins, Richard Shaffrey, Sinéad of The Magic Flute in association with O’Kelly, Sarah Richmond, Laura Murphy Nevill Holt Opera - our first ever Mozart and Lynsey Curtin - as well as an all-Irish production, and one of the most popular chorus. The showcasing and development operas ever written. of local talent is of paramount importance Open to the world since 1830 to us, and we are enormously grateful for The Magic Flute is the first production of the support of the Arts Council of Northern Austins Department Store, our 2014-15 season to be performed Ireland which allows us to continue this The Diamond, in Northern Ireland. As with previous important work. The well-publicised Derry / Londonderry, seasons we have tried to put together financial pressures on arts organisations in Northern Ireland an interesting mix of operas ranging Northern Ireland show no sign of abating BT48 6HR from the 18th century to the 21st, and however, and the importance of individual combining the very well known with the philanthropic support and corporate Tel: +44 (0)28 7126 1817 less frequently performed. Later this year sponsorship has never been greater. I our co-production (with Opera Theatre would encourage everyone who enjoys www.austinsstore.com Company) of Donizetti’s L’Elisir d’Amore seeing regular opera in Northern Ireland will tour the Republic of Ireland, following staged with flair and using the best local its successful tour of Northern Ireland operatic talent to consider supporting us last year.
    [Show full text]
  • Translation in Journalism: the Practices of Multilingual Foreign Correspondents
    TRANSLATION IN JOURNALISM: THE PRACTICES OF MULTILINGUAL FOREIGN CORRESPONDENTS Alexa Ahern Dr. Jeanne Abbott, Chair ANALYSIS Introduction Language translation in journalism demands trust. When readers in the U.S. sit down to read a New York Times story about refugees in Idomeni camp on the border of Macedonia, they are reading words that have been passed through many gatekeepers. One gatekeeper is often invisible — the translator. They aren’t seeing the exact words spoken by a Syrian refugee or a Macedonian border patrol agent or a Greek volunteer. The words have been translated by a journalist or interpreter, and the reader trusts that one or both have translated the words correctly. They trust that they are essentially reading exactly what the quoted source said. But translation isn’t that simple. It’s more complicated than knowing the Arabic word for “ocean” or the Greek word for “refugee.” Translators and journalists must interpret nuance in language — idioms, expressions, implications, sarcasm and slang, not to mention gestures and emotions. In his 1992 essay Traduttore, Traditore, which roughly means “the translator is a traitor” in Italian because a translator can easily obscure truth in translation without readers knowing, John Tusa, former director of the BBC World Service, wrote, “Translators then are not simply traitors. They are more complex than that — they are jugglers, conjurers, mind readers, psychologists, games players, poets, social scientists. At the end they are cultural porters, offering the use of one language an imaginative equivalence of the meaning expressed in another. The question is not whether they get it wrong.
    [Show full text]