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Images of Violence in Complicite Obrazy Przemocy W Complicite
Images of Violence in Complicite Tom 5/2017, ss. 53-60 ISSN 2353-1266 e-ISSN 2449-7983 DOI: 10.19251/sej/2017.5(4) www.sej.pwszplock.pl Tomasz Wiśniewski Uniwersytet Gdański Images of Violence in Complicite Obrazy przemocy w Complicite Abstract Abstrakt In British theatre of the last three W ciągu ostatnich trzech dekad decades, we observe a significant shift from można zaobserwować w brytyjskim teatrze the more verbal, playwright-focused model of odejście od modelu teatru opartego na słowie, theatre whose meanings are determined pri- którego znaczenia determinowane są przez marily by the literary concept of drama to the literacką koncepcję dramatu na rzecz teatru, one which exercises more profoundly artistic który korzysta w większym zakresie z auto- autonomy of theatre. Complicite is one of the nomii artystycznej teatru . Complicite to jedna leading theatre companies that are responsible z tych grup teatralnych, które stoją za tymi for this shift. In the performances of Complic- zmianami. W przedstawienich Complicite, ite, the theme of violence has been explored temat przemocy pojawia się regularnie i do frequently. The whole variety of theatre jej zaprezentowania wykorzystywany jest devices were employed in depicting images of cały wachlarz środków artystycznych. Arty- violence. The article discusses plays such as kuł omawia sztuki: Mnemonic, The Street of Mnemonic, The Street of Crocodiles, Measure Crocodiles, Measure for Measure, The Mas- for Measure and The Master and Margarita, ter and Margarita, A Disappearing Number, A Disappearing Number, Shun-kin and The Shun-kin, The Encounter i kilka innych. Encounter and mentions others. Słowa kluczowe: Complicite, Simon Keywords: Complicite, Simon McBurney, Mnemonic, The Encounter, prze- McBurney, Mnemonic, The Encounter, vio- moc, badania nad teatrem, komunikacja, lence, theatre studies, communication, semi- semiotyka otics 54 Tomasz Wiśniewski Tom 5/2017 1 . -
Complicite's 'The Encounter' Edinburgh International Conference Center, Edinburgh International Festival; 480 Seats; £32 ($50) Top
REVUE DE PRESSE SIMON MCBURNEY The Encounter 08 – 12.09.2015 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... Theatre Expat In Switzerland? £50k+ Savings? Try A Free Review To Show You The Best Interest Rates! Theatre / What to See WHAT TO SEE Edinburgh: The Encounter, International Conference Centre, review: 'spellbinding' share THE ENCOUNTER IS ONE OF THE EARLY HITS OF THE EDINBURGH INTERNATIONAL FESTIVAL CREDIT: A. PHILLIPSON/LIVEPIX BB y DDoommiinniicc CCaavveennddiisshh THEATRE CRITIC 9 AUGUST 2015 • 2:08PM share 1 sur 6 27.08.15 12:08 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... You are alone in the dense, almost inaccessible Amazon region of Brazil, 400 miles from "civilisation". The aim is to take photographs of an elusive, barely contacted tribes-people called the Mayoruna – to show the world what they look like. And, amazingly, you strike gold. There, suddenly, some of them are. You follow them, snapping as you go – failing, unlike Hansel and Gretel, to leave a trail behind you. The story of the American photographer Loren McIntyre’s incredible 1969 encounter with “the cat people” (so named because of the whisker-like palm-spines adorning their lips and noses) is the stuff of a twisting, turning, thoroughly engrossing fairytale. And in re-telling it, in this brilliant solo show mounted by his much-travelled company Complicite, Simon McBurney adopts a high-tech bedside manner that places the audience in the role of wide-eyed – or should that be wide-eared? – children. -
Programme for Cheek by Jowl's Production of the Changeling
What does a cheek suggest – and what a jowl? When the rough is close to the smooth, the harsh to the gentle, the provocative to the welcoming, this company’s very special flavour appears. Over the years, Declan and Nick have opened up bold and innovative ways of work and of working in Britain and across the world. They have proved again and again Working on A Family Affair in 1988 that theatre begins and ends with opposites that seem Nick Ormerod Declan Donnellan irreconcilable until they march Nick Ormerod is joint Artistic Director of Cheek by Jowl. Declan Donnellan is joint Artistic Director of Cheek by Jowl. cheek by jowl, side by side. He trained at Wimbledon School of Art and has designed all but one of Cheek by As Associate Director of the National Theatre, his productions include Fuente Ovejuna Peter Brook Jowl’s productions. Design work in Russia includes; The Winter’s Tale (Maly Theatre by Lope de Vega, Sweeney Todd by Stephen Sondheim, The Mandate by Nikolai Erdman, of St Petersburg), Boris Godunov, Twelfth Night and Three Sisters (with Cheek by Jowl’s and both parts of Angels in America by Tony Kushner. For the Royal Shakespeare Company sister company in Moscow formed by the Russian Theatre Confederation). In 2003 he has directed The School for Scandal, King Lear (as the first director of the RSC Academy) he designed his first ballet, Romeo and Juliet, for the Bolshoi Ballet, Moscow. and Great Expectations. He has directed Le Cid by Corneille in French, for the Avignon Festival, Falstaff by Verdi for the Salzburg Festival and Romeo and Juliet for the Bolshoi He has designed Falstaff (Salzburg Festival), The Rise and Fall of the City of Mahagonny Ballet, Moscow, becoming the first stage director to work with the Bolshoi Ballet since 1938. -
The Art of Cultural Exchange Translation and Transformation Between the UK and Brazil
The Art of Cultural Exchange Translation and Transformation between the UK and Brazil Edited by Paul Heritage Queen Mary University of London, UK Ilana Strozenberg Federal University of Rio de Janeiro (UFRJ), Brazil Curating and Interpreting Culture a project by in partnership with Funded by People’s Palace Projects is funded by Copyright © 2019 by the Authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Curating and Interpreting Culture Library of Congress Control Number: 2018967188 ISBN: 978-1-62273-438-2 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Authors in alphabetical order vii Foreword xiii Graham Sheffield Preface xv Martin Dowle Introduction xvii Paul Heritage Part 1. -
THEATRE in ENGLAND 2012-13 UNIVERSITY of ROCHESTER Mara Ahmed
THEATRE IN ENGLAND 2012-13 UNIVERSITY OF ROCHESTER Mara Ahmed The Master and Margarita Barbican Theatre 12/28/12 Based on Mikhail Bulgakov’s novel, this adaptation by Simon McBurney is as inventive and surprising as the book’s storyline. Satan disguised as Professor Woland visits Stalinist Russia in the 1930s. He and his violent retinue use their black magic and death prophesies to dispose of people and take over their apartments; most villainy and betrayal in the play is in fact motivated by the acquisition of apartment space. Bulgakov is satirizing the restriction of private space in Stalin’s Russia but buildings are also a metaphor for the structure of society as a whole. Rooms are demarcated by light beams, in the constantly changing set design, in order to emphasize relative boundaries and limits. The second part of the play focuses on Margarita and her lover, a writer who has just finished a novel about the complex relationship between Pontius Pilate (the Roman procurator of Judaea) and Yeshua ha-Nostri (Jesus, a wandering philosopher). Margarita calls him the Master on account of his brilliant literary chef d’oeuvre. She is devoted to him. However, the Master’s novel is ridiculed by the Soviet literati and after being denounced by a neighbor, he is taken into custody and ends up at a lunatic asylum. The parallels between his persecution and that of his principal character, Jesus, are brought into relief by constant shifts in time and place, between Moscow and Jerusalem. Margarita makes a bargain with Satan on the night of his Spring Ball, which she agrees to host, and succeeds in saving the Master. -
The Encounter
THE ENCOUNTER UNITED KINGDOM COMPLICITE / SIMON MCBURNEY INSPIRED BY THE BOOK AMAZON BEAMING BY PETRU POPESCU DIRECTED BY SIMON MCBURNEY PHOTOGRAPH: TONI WILKINSON FREE PROGRAMME WWW.AAF.CO.NZ / #AKLFEST FACEBOOK.COM/AKLFESTIVAL @AKLFESTIVAL @AKLFESTIVAL THE ENCOUNTER COMPLICITE/SIMON MCBURNEY ASB THEATRE, AOTEA CENTRE WEDNESDAY 15 - FRIDAY 17 MARCH 7.30PM SATURDAY 18 MARCH 1.30PM & 7.30PM SUNDAY 19 MARCH 2.30PM 1 HOUR 50 MINUTES NO INTERVAL POST SHOW TALK: THURSDAY 16 MARCH TOUCH TOUR: SUNDAY 19 MARCH, 1.00PM NAU MAI HAERE MAI KI TE AHUREI TOI O TĀMAKI MAKAURAU Welcome to the 2017 Auckland Arts Festival Great artists cause controversy, start revolutions and little by little change the world. Festivals like ours are a catalyst for change creating opportunities for artists to communicate with audiences and audiences to respond to artists’ work. Throughout the Festival you will find small threads that deal with our world today. We hope that the work in the Festival can make you think, laugh, scream a little and perhaps even cry. It is fantastic to have Complicite at our Festival. I have been trying to get them to New Zealand for almost 20 years – success at last – for my final festival. The Encounter is an extraordinary show. I have seen it three times and each time it blows me away. This is real theatre magic where storytelling and technology come together to talk about our world and what matters. Welcome to The Encounter and to the members of Complicite. The Festival’s CEO David Inns (my partner and collaborator of many years), our Board and staff, hope you have a fabulous Festival. -
Ma Fille De Ans Pourrait Le Faire
CONTEMPORAINMA FILLE DE ANS POURRAIT LE FAIRE L’ARTBRISONS LES MURS ET LES CLICHÉS Rencontrez 10 artistes - Visitez 100 lieux Découvrez une ville différemment ateliershenrydougier.com AFFICHE_10_100_A3_MA_FILLE_V3.indd 1 24/01/2020 15:06 TISTES10 100LIX UN LIVRE + UN GUIDE Le livre – 2 préfaciers évoquent la scène artistique de la ville depuis 50 ans – 10 artistes racontent leur travail, leurs RTITE inspirations et leur rapport à la ville 10 Londres Le guide Visite guidée de 100 lieux clés de la ville + classés par quartier et par discipline, cartes à l'appui 100LIX Michèle Fajtmann Préfaces de Hannah Barry et Daniel Rachel AU CŒUR DE LA CRÉATION CONTEMPORAINE AU CŒUR DE LA CRÉATION SOM- Créée en 2014, la maison dédition les ateliers henry dougier souhaite « raconter » la société contemporaine dans le monde, en donnant la parole aujourdhui à des témoins souvent invisibles et inaudibles : peuples, régions, métiers, catégories sociales ou générationnelles parlent ici de leurs valeurs, de leur mémoire, MAIRE de leur imaginaire, de leur créativité. Notre objectif : briser les murs et les clichés. Avant-propos de l’auteure 6-9 Préface de Daniel Rachel 10-13 Préface de Hannah Barry 14-17 Entretiens avec 10 artistes 18-97 Portraits de 100 lieux clés 98-155 + cartographie par quartier Index des 100 lieux 156-159 01. ENTRE TIE20.NS Eileen Cooper 28. Akram Khan 36. Anna Meredith 44. Yinka Ilori 52. Mary Katrantzou AVEC 60. Ben Eine 68. Amanda Levete 76. Conrad Shawcross 84. Gillian Wearing RTITE10 92. Simon McBurney | Entretien avec Eileen Cooper | 20 21 ileen Cooper grandit à Glossop. -
Performance Cinema
apr 18 now now soon always The Complicité’s acclaimed production is based on the life-changing experience of impact a photographer lost in the rainforest. The different reactions it provoked around the world reveal the power of its messages, says co-director of The Kirsty Housley. Encounter Complicté’s Simon McBurney interacts with the binaural head, affectionately known as ‘Fritz’. © Robbie Jack 1 barbican.org.uk now soon always Since it was first performed at the Barbican in to put headphones on people: it’s a real 2016, Complicité’s The Encounter has travelled contradiction because it’s a collective the world. From Broadway to Berlin, it’s met experience, but it’s also an individual one.’ people of different cultures and backgrounds What is Yet no matter where it’s been performed, one and provoked some interesting responses in thing comes through clearly, says Housley: those who’ve seen it. ‘Most audiences have more in common than For this is no ordinary production. they have differences, which is really what the show is about.’ binaural It is the story of National Geographic photographer Loren McIntyre, who in 1969 Directing the work had a significant impact on found himself lost among the people of the Housley, she admits. remote Javari Valley in Brazil. It was an ‘It’s something that was already in me, but as a encounter that was to change his life. sound? result of the show, I’ve tried even harder to adapt my lifestyle to be as ecologically sound as possible. I try to be conscious of what I Binaural recordings People in different countries consume and how I consume it. -
West End Leaflet
19 PERFORMANCES ONLY 10 - 25 September FOLLOWING ITS SEASONS IN NEW YORK AND INDIA BOX OFFICE 0844 482 5170 Booking fee £1.75 per ticket, except those made in person at the Box Office ONLINE www.delfontmackintosh.co.uk …weaves together the story of two love affairs, separated www.complicite.org by a century and a continent. The first happens now. PERFORMANCE TIMES The second is set in 1914. It tells of the heartbreaking Monday - Saturday evenings 7.30pm collaboration between the greatest natural mathematician Wednesday and Saturday matinees 2.30pm Conceived and Directed by of the 20th century, Srinivasa Ramanujan, a penniless Performance length: 120 minutes (no interval) Brahmin from Madras in South India, and his British Simon McBurney counterpart, the brilliant Cambridge don GH Hardy. TICKET PRICES Stalls £10, £35, £45 · Dress Circle £35, £45 Grand Circle £20*, £30, £35 · Balcony £10, £20 With a haunting original score by Nitin Sawhney, this piece * some seats may have a restricted view of startling visual poetry from Simon McBurney and All prices include a £1 restoration levy Complicite is a compelling meditation on love, mathematics GROUPS 0844 482 5100 and the pain of exile in an age when we think we can Groups 8+ best available seats reduced to £27.50 belong anywhere and have everything. Schools 8+ best available seats reduced to £19.50 Monday - Friday performances plus Saturday matinees HOSPITALITY Special occasion or entertaining clients? For more information call 0844 482 5166 ACCESS Conceived and Directed by Simon McBurney Call 0844 482 5137 for access requirements and rates Devised by The Company David Annen TRAVEL AND PARKING Firdous Bamji Tube: Covent Garden/Charing Cross Overland: Charing Cross · Buses: 6, 11, 13 and 15 Paul Bhattacharjee Parking: in Drury Lane. -
‚Gutes' Theater
VS PLUS Zusatzinformationen zu Medien des VS Verlags ‚Gutes’ Theater Theaterfinanzierung und Theaterangebot in Großbritannien und Deutschland im Vergleich 2011 | Erstauflage Anhang Tabellen [Text eingeben] www.viewegteubner.de www.vs -verlag.de Inhaltsverzeichnis Tab. 1: Internationale Definitionen von Kultur, Kultursektor, Kulturindustrien....................................4 Tab. 2: Kulturfinanzierung, GB, 1998/99, in ₤ Mio. und %...................................................................5 Tab. 3: Zentralstaatliche Kulturförderung in GB, 1998/99, in ₤ Mio. und %......................................... 5 Tab. 4: Anteil Kultursponsoring am BIP, D vs. GB, 1999-2007............................................................5 Tab. 5 Production categories , TMA (Beschreibung der Sparten für die Umfrage), ab 1993 ...............6 Tab. 6a: Production categories , SOLT .................................................................................................... 7 Tab. 6b: Sub genres und other production criteria , SOLT ......................................................................7 Tab. 7: Verteilung der deutschen Theater nach Träger, 1990-2005 .......................................................8 Tab. 8: Verteilung Rechtsträger und -formen der deutschen öffentlichen Theaterunternehmen............ 8 Tab. 9: Londoner Theater (SOLT-Mitgliedschaft).................................................................................9 Tab. 10: Wichtigste Londoner Theater, A-Z, Sitzplatzkapazitäten, Eigentümer/ Betreiber.................. -
Simon Mcburney Et Sa Compagnie Complicite Sont À Nouveau Les Hôtes Du Festival D’Automne
Deux ans après A Disappearing Number, Simon McBurney et sa compagnie Complicite sont à nouveau les hôtes du Festival d’Automne. Et six ans après The Elephant Vanishes, inspiré des nouvelles de Haruki Murakami (et présenté au Festival d’Automne en 2004), ils reviennent à la littérature japonaise, renouvelant également leur collaboration avec le Setagaya Public Theatre de Tokyo. Shun-kin repose sur deux textes du grand écrivain Jun’ichirô Tanizaki. La nouvelle qui donne son titre à la Simon McBurney pièce est d’une ambiguïté aussi fascinante qu’inépuisable : elle conte l’histoire d’amour, Complicite où la passion se mêle au sadisme, entre un serviteur dévoué jusqu’au sacrifice et sa maîtresse, aveugle et virtuose du shamisen. Quant à l’Éloge de l’ombre, son titre pourrait Shun-Kin servir de manifeste esthétique à ce spectacle d’une grande densité climatique. S’il prend ici D’après Jun’ichirô Tanizaki le parti d’une relative simplicité de moyens, mettant de côté la virtuosité technologique qui a fait la singularité des pièces de sa Mise en scène, Simon McBurney Musique, Honjoh Hidetaro compagnie, Simon McBurney n’abdique en rien Décors, Merle Hensel, Rumi Matsui cette rigueur et cette beauté formelles qui Lumière, Paul Anderson fondent son théâtre hautement Son, Gareth Fry synesthésique. Il entraîne ses comédiens, tous Projection, Finn Ross for mesmer Costumes, Christina Cunningham japonais (parmi lesquels l’actrice Eri Fukatsu), Marionnettes, Blind Summit Theatre dans un jeu de masques et de clairs-obscurs Assistante mise en scène, Kirsty Housley qui sonde les tréfonds de l’âme humaine, Scénario, Jo Allan rappelant combien la liberté de l’acteur a Avec Kaho Aso, Songha Cho, Eri Fukatsu, Honjoh Hidetaro, toujours été au coeur du théâtre tel que le Kentaro Mizuki, Yasuyo Mochizuki, Yoshi Oida, Keitoku Takada, conçoit Complicite. -
Thursday Evening, March 30, 2017 at 7:30 Friday Evening, March 31, 2017 at 8:00 Saturday Evening, April 1, 2017 at 8:00 Power Center, Ann Arbor THE
Thursday Evening, March 30, 2017 at 7:30 Friday Evening, March 31, 2017 at 8:00 Saturday Evening, April 1, 2017 at 8:00 Power Center, Ann Arbor THE ENCOUNTER A production of Complicite/Simon McBurney Inspired by the book Amazon Beaming by Petru Popescu Simon McBurney Director/Performer 54th, 55th, and 56th Performances of the 138th Annual Season International Theater Series This week’s presenting sponsor is the Renegade Ventures Fund, established by Maxine and Stuart Frankel. This week’s supporting sponsors are Arbor Networks, Carl and Charlene Herstein, and David and Phyllis Herzig. Funded in part by the Building Audiences for Sustainability initiative at The Wallace Foundation and the National Endowment for the Arts. Media partnership provided by Metro Times and WDET 101.9 FM. Special thanks to Leith Campbell and Gareth Fry for their participation in events surrounding this week’s performances. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. CREATIVE TEAM Director and Performer / Simon McBurney Co-Director / Kirsty Housley Associate Director / Jemima James Design / Michael Levine Sound / Gareth Fry with Pete Malkin Lighting / Paul Anderson Projection / Will Duke With the voices of / Romeo Corwisepa Dreve, Claudia Hammond, David Farmer, Chris Frith, George Marshall, Noma McBurney, Iain McGilchrist, Petru Popescu, Iris Friedman, Steven Rose, Marcus du Sautoy, Rebecca Spooner, Jess Worth, Nixiwaka Yawanawa This evening’s performance is approximately two hours in duration and is performed without intermission. Following Thursday evening’s performance, please feel free to remain in your seats and join us for a post-performance Q&A with members of the company.