Festival/Tokyo 2016 Press Release 4.1 11 September 2016
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Home Mcr. Org Box Office 0161 200 1500
home box office mcr. 0161 200 1500 org home film . OCT – Peterloo, 2018 NOV 1 NEW RELEASES Event Event Tehran Taboo (15) Kusama: Infinity (12A) Anchor and Hope (15) Columbus (12A) 1945 (12A) Pili (CTBA) From Fri 5 Oct From Fri 5 Oct From Fri 5 Oct From Fri 12 Oct From Fri 12 Oct From Fri 12 Oct Dir Ali Soozandeh/AT DE 2017/96 mins/Persian Dir Heather Lenz/US 2018/77 mins Dir Carlos Marques-Marcet/ES 2017/113 mins/ Dir Kogonada/US 2017/104 mins/English and Dir Ferenc Török/HU 2017/91 mins/Hungarian Dir Leanne Welham/GB TZ 2017/83 mins/Swahili wEng ST An exploration of Yayoi Kusama’s fierce English and Spanish with partial EngST Korean with partial EngST wEng ST wEng ST Farhad Abadinejad, Jasmina Ali, Rozita Assadollahy Oona Chaplin, Natalia Tena, Geraldine Chaplin John Cho, Haley Lu Richardson, Parker Posey Péter Rudolf, Bence Tasnádi, Tamás Szabó Kimmel, Bello Rashid, Sekujua Rashid, Mwanaidi Omari Sefi determination to become a world- Dóra Sztarenki Tehran is a city of strict restrictions renowned artist after being born into Eva and Kat enjoy a carefree existence Jin, son of a renowned architecture In rural Tanzania, Pili works for less and religious laws. Yet, the lust for until Eva’s dream of becoming a mother scholar, strikes up a friendship with 12 August 1945. The arrival of two than £1 a day. Offered the chance to a conservative family in rural Japan. Orthodox Jewish men to a rural village life in young people who seek to live Making her way to America after is reignited. -
Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance Sarah Lucie The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3828 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ACTING OBJECTS STAGING NEW MATERIALISM, POSTHUMANISM AND THE ECOCRITICAL CRISIS IN CONTEMPORARY PERFORMANCE by SARAH LUCIE A dissertation submitted to the Graduate Faculty in Theatre and Performance in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2020 © 2020 SARAH LUCIE All rights reserved ii Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance by Sarah Lucie This manuscript has been read and accepted by the Graduate Faculty in Theatre and Performance in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________________________________________________________________ Date Peter Eckersall Chair of Examining Committee __________________________________________________________________________ Date Peter Eckersall Executive Officer Supervisory Committee: Erika Lin Edward Miller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance by Sarah Lucie Advisor: Peter Eckersall I investigate the material relationship between human and nonhuman objects in performance, asking what their shifting relations reveal about our contemporary condition. -
RIAJ Yearbook 2019 1 Overview of Production of Recordings and Digital Music Sales in 2018
Statistics RIAJ YEARBOOK Trends 2019 The Recording Industry in Japan 2019 Contents Overview of Production of Recordings and Digital Music Sales in 2018 .................. 1 Statistics by Format (Unit Basis — Value Basis) .............................................................. 4 1. Total Recorded Music — Production on Unit Basis ............................................... 4 2. Total Audio Recordings — Production on Unit Basis ............................................ 4 3. Total CDs — Production on Unit Basis .................................................................... 4 4. Total Recorded Music — Production on Value Basis ............................................. 5 5. Total Audio Recordings — Production on Value Basis .......................................... 5 6. Total CDs — Production on Value Basis ................................................................. 5 7. CD Singles — Production on Unit Basis .................................................................. 6 8. 5" CD Albums — Production on Unit Basis ............................................................ 6 9. Music Videos — Production on Unit Basis ............................................................. 6 10. CD Singles — Production on Value Basis................................................................ 7 11. 5" CD Albums — Production on Value Basis.......................................................... 7 12. Music Videos — Production on Value Basis ........................................................... 7 13. Digital -
America's Japan and Japan's Performing Arts Barbara Thornbury
America's Japan and Japan's Performing Arts Barbara Thornbury Published by University of Michigan Press Thornbury, B.. America's Japan and Japan's Performing Arts: Cultural Mobility and Exchange in New York, 1952-2011. Ann Arbor: University of Michigan Press, 2013. Project MUSE., https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/22764 Access provided by University of Michigan @ Ann Arbor (18 Mar 2017 21:32 GMT) Introduction It may not be their, but it is certainly our Japan.1 Q: Can you tell us a little more about what Americans perceive as Japan- ness? A: For instance, it could be things like the stage set is extremely elaborately designed and constructed. Q: Is it a kind of fetishism? A: Well, you could say so.2 Eiko and Koma are quintessentially Japanese, and also longtime New York residents.3 This book is a study of the images and myths that have defined and shaped the reception of Japan- related theater, music, and dance in the United States since the postwar 1950s. In the mid- 1980s, at the height of fierce trade tensions between the United States and Japan, Clyde Haberman reported in the New York Times, “Japanese contend that the trouble is not their lingering restrictions so much as American laziness in attempting to penetrate this country’s markets. Learn our language, Prime Minister Ya suhiro Nakasone has said many times. Study our culture. ‘Americans don’t try hard enough’ is a favorite catch phrase.” Haberman contended, “The accusation infuriates many American executives, who feel that they could watch Kabuki plays all day and still get nowhere.”4 The executives’ angry sarcasm was rooted in a paradoxical fact. -
Cambridge University Press 978-1-108-42646-6 — Bertolt Brecht in Context Edited by Stephen Brockmann Index More Information
Cambridge University Press 978-1-108-42646-6 — Bertolt Brecht in Context Edited by Stephen Brockmann Index More Information Index Academy of the Arts, xvii, xx, 34, 98, 99, 100, Augsburg, xiii, xviii, 11, 17, 18, 20, 21, 22, 23, 24, 101, 102 25, 27, 36, 41, 42, 43, 45, 50, 51, 52, 55, 65, 66, Adams, John, works by 131, 151, 183, 191, 202, 327, 328 Dr. Atomic, 218 Austria, xix, xxviii, 89, 156, 218, 340 Adorno, Theodor W., 76–77, 127, 128, 196, 283, 304 Babylon Berlin, 42, 193 African National Congress, 208 Bach, Johann Sebastian, 53, 196 Agami, Danielle, 220 Bach, Johann Sebastian, works by agitprop, 40, 60, 160, 161, 164, 196, St. Matthew Passion, 53 209, 263 Bachmann, Ingeborg, 156 AIDS, 215 Bacon, Francis, works by A-I-Z, 135, 138 The New Organon, 27 Akiho, Andy, 219 Baden-Baden, 193, 197 Alberts, Jürgen, works by Baden-Baden Music Festival, xviii, 54, 159, 195 Hitler in Hollywood: Looking for the Ideal Badiou, Alain, works by Script, 275 Five Lessons on Wagner, 194 Allert de Lange (publishing house), 94 Bai Juyi, 184, 185 Allfree, Claire, 318 Banholzer, Paula, xviii, 22, 23 Altefrohne, Silke, 286 Bänkelsang, 22 Althusser, Louis, 128 Bantu People’s Theatre, 210 Amette, Jacques-Pierre, works by Barnett, David, 220, 293 Brecht’s Mistress, 276 Barthes, Roland, 128, 129, 331 Amin, Idi, 207 Baum, Kurt, 210 Amsterdam, 89 Bausch, Pina, xvi, 163 andcompany&Co., 288 Bautzen Festival, 307 André, Naomi, 221, 222 Bavaria, xviii, 22, 24, 275 anti-fascism, 10, 44, 45, 91, 92, 151, 160, 204, 228, Baxter Theatre, 215 242, 259 Bayreuth Festival, 53, 54, 218, 219 anti-Semitism, 71 BBC, 206 Archer, Robyn, xxvi Beaton, Alistair, 323 Arendt, Hannah, 278 Bebel, August, 203 Aristotle, 8, 28, 152, 270 Becher, Johannes R., 63, 71, 92, 102, 197 Armstrong, Louis, 6 Becher, Johannes R., works by Arons, Wendy, xxvii Winter Battle, 63, 83 Arribas, Sonia, 167 Beckett, Samuel, 163, 228 Artaud, Antonin, xxv, 163, 228, 253 Beckmann, Max, 34 Ashcroft, Peggy, 205, 206 Bel, Jérôme, 286 Auden, W. -
America's Largest Japanese Film Fest Announces 27 NYC Premieres For
Media Contacts: Shannon Jowett, [email protected], 212-715-1205 Kuniko Shiobara, [email protected], 212-715-1249 America’s Largest Japanese Film Fest Announces 27 NYC Premieres for 8th Installment JAPAN CUTS: The New York Festival of Contemporary Japanese Cinema July 10-20, 2014 at Japan Society New York, NY -- North America’s largest showcase of Japanese film and “One of the loopiest… and least predictable of New York’s film festivals” (New York Magazine), JAPAN CUTS: The New York Festival of Contemporary Japanese Cinema returns for its eighth annual installment. Running July 10-20 and screening 27 features with 8 special guests, JAPAN CUTS 2014 encompasses a thrilling cross section of cinephilic genre oddities, sword-swinging period action, profound documentaries, cathartic melodramas, warped comedies and cutting-edge arthouse cinema made in and around Japan. Guests include superstar performers and independent auteurs opening up in rare Q&As and dynamic parties rocking Japan Society’s historic theater and waterfall atrium. As in past years, the festival dovetails with the 13th New York Asian Film Festival (NYAFF), co-presenting 13 titles in the JAPAN CUTS lineup July 10-13. JAPAN CUTS 2014 again earns the distinction as “New York’s premiere Japanese cinema event,” every title never before screened in New York City, “unspooling across a kaleidoscopic range of taste and aesthetics” (The Wall Street Journal). Boasting 1 World Premiere, 3 International Premieres, 7 North American Premieres, 6 U.S. Premieres, 5 East Coast Premieres, and 4 New York Premieres, every day of the festival provides a must-see event for the NYC cinephile, follower of Japanese art and culture, and devoted world cinema aficionado alike. -
Enacting Culture – Japanese Theater in Historical and Modern Contexts
Monographien Herausgegeben vom Deutschen Institut für Japanstudien Band 51, 2012 Barbara Geilhorn / Eike Grossmann Miura Hiroko / Peter Eckersall (eds) Enacting Culture – Japanese Theater in Historical and Modern Contexts Monographien aus dem Deutschen Institut für Japanstudien Band 51 2012 Monographien Band 51 Herausgegeben vom Deutschen Institut für Japanstudien der Max Weber Stiftung — Deutsche Geisteswissenschaftliche Institute im Ausland Direktor: Prof. Dr. Florian Coulmas Anschrift: Jōchi Kioizaka Bldg. 2F 7-1, Kioichō Chiyoda-ku Tōkyō 102-0094, Japan Tel.: (03) 3222-5077 Fax: (03) 3222-5420 E-Mail: [email protected] Homepage: http://www.dijtokyo.org Umschlagillustration: Kurokawa Nō: Aufführung von Atsumori durch die Bewohner von Kurokawa während des Events Nō auf Wasser (Suien no nō) im Juli 2005. Photo: Eike Grossmann Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ISBN 978-3-86205-039-0 © IUDICIUM Verlag GmbH München 2012 Alle Rechte vorbehalten Druck: Kessler Druck + Medien, Bobingen Printed in Germany ISBN 978-3-86205-039-0 www.iudicium.de Table of Contents 目次 TABLE OF CONTENTS 目次 Barbara GEILHORN and Eike GROSSMANN Preface ( 序 ) . 9 Barbara GEILHORN and Eike GROSSMANN Introduction ( はじめに ). 13 1. THEORETICAL WRITINGS AND COLLECTIONS OF PLAYS 演劇論 と 謡本 ・ 台本 YAMANAKA Reiko 世阿弥時代の能の演技 (Performing Nō in Zeami’s Time) . 27 Andreas REGELSBERGER Poetics of Voice and Puppet: Secondary Texts on the Art of Ningyō Jōruri ( 声と人形の美学 — 人形浄瑠璃におけ る芸道論 ) . 37 Bonaventura RUPERTI 「世阿弥の能楽論と ルネ ッ サン スの演劇論 — 演劇の本質、 戯曲 と 舞台化、 俳優 と い う テーマを中心に」 (Dramatization, Staging, Actor – A Comparison of Zeami’s Theories on Nō and Renaissance Theater Theories) . -
Corksligo Dublin Galway Limerick
CORK SLIGO DUBLIN GALWAY LIMERICK DUNDALK TIPPERARY WATERFORD CELEBRATING 10 YEARS WELCOME TO THE JAPANESE FILM FESTIVAL 2018 We are 10! 2018 marks a decade of The Embassy of Japan’s collaboration with Access>Cinema. The success in that time was not possible without various supporters, particularly the Ireland Japan Association and the Japan Foundation, and we look forward to working with existing and new supporters for 2018. We are really excited about this year’s line- up, which showcases the best of contemporary Japanese cinema, with a mix of new work from established directors and first features from inspiring new talent. Recently picking up the Japan Academy 2018 prizes for Best Film and Best Director, The Third Murder sees the great Hirokazu Kore-eda taking a break from his usual family dramas to deliver a dark legal thriller. Close Knit, the latest from Naoko Ogigami – her Rent-a-Cat was a favourite in 2013 – is a heartwarming yet poignant crowd- pleaser. Partially inspired by the life and work of Vincent van Gogh, The Sower is a quiet but probing story from new voice Yosuke Takeuchi. For this 10th edition our anime selection is particularly strong. We are honoured to welcome acclaimed screenwriter Mari Okada to Dublin for the Irish premiere of her debut feature Maquia: When the Promised Flower Blooms, just weeks after its international premiere in Glasgow. On April 10th we present, for one night only, exclusive fan preview screenings of Studio Ponoc’s highly-anticipated first production Mary and the Witch’s Flower. We also present the latest films from Masaaki Yuasa. -
Winter/Spring Season
WINTER/SPRING SEASON Jan 23–24 eighth blackbird Hand Eye __________________________________________ Jan 28–30 Toshiki Okada/chelfitsch God Bless Baseball __________________________________________ Feb 4 and 6–7 Ingri Fiksdal, Ingvild Langgård & Signe Becker Cosmic Body __________________________________________ Feb 11–14 Faye Driscoll Thank You For Coming: Attendance __________________________________________ Feb 18–27 Tim Etchells/Forced Entertainment The Notebook, Speak Bitterness, and (In) Complete Works: Table Top Shakespeare __________________________________________ Mar 5–6 Joffrey Academy of Dance Winning Works __________________________________________ Mar 25–26 eighth blackbird featuring Will Oldham (Bonnie “Prince” Billy) Ghostlight __________________________________________ Mar 31–Apr 3 Blair Thomas & Co. Moby Dick __________________________________________ Apr 7–10 Teatrocinema Historia de Amor (Love Story) __________________________________________ Apr 12 and 14–16 Taylor Mac The History of Popular Music __________________________________________ Apr 28–May 1 Kyle Abraham/ Abraham.In.Motion When the Wolves Came In Museum of Contemporary Art Chicago Apr 7–10, 2016 North American Premiere Drawing and 3D Modelers Vittorio Meschi Max Rosenthal Teatrocinema Animation and Post Production Ilana Raglianti Historia de Amor Sebastián Pinto Light Operator Luis Alcaide (Love Story) Video Operator Lucio González ____________________________________________ Sound Engineer Matías Del Pozo Director Juan Carlos Zagal Props Cristián Mayorga, -
De Oriza Hirata Marion Boudier
Document généré le 2 oct. 2021 11:17 Jeu Revue de théâtre Le « théâtre tranquille » de Oriza Hirata Marion Boudier Jouer autrement Numéro 129 (4), 2008 URI : https://id.erudit.org/iderudit/23519ac Aller au sommaire du numéro Éditeur(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (imprimé) 1923-2578 (numérique) Découvrir la revue Citer cet article Boudier, M. (2008). Le « théâtre tranquille » de Oriza Hirata. Jeu, (129), 51–58. Tous droits réservés © Cahiers de théâtre Jeu inc., 2008 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ MARION BOUDIER Le « théâtre tranquille » de Oriza Hi rata epuis qu'à l'âge de seize ans il a réalisé un tour du monde à bicyclette, Oriza DHirata écrit, s'interrogeant sur les différences entre les cultures et les mécanismes des relations humaines. Né à Tokyo en 1962, Hirata est aujourd'hui à la fois auteur, metteur en scène, directeur de la compagnie Seinendan ainsi que du théâtre Komaba Agora, et enseignant à l'Université d'Osaka. Il a bâti un formidable empire théâtral, culturel et pédagogique, et a participé à un important renouveau de l'écriture drama tique au Japon. -
Download (2 Wds.) by Bethesda 32
Lettitor Live and let lime Jessica Berget sense. One answer I was not expecting is in salsa and in curries, it’s my favourite other, it’s guaranteed to get a chuckle. Editor-in-Chief Mexican drug cartels. Starbucks drink that they no longer sell When I first thought about becoming It’s true! According to a 2014 CBC (rest in peace Cool Lime Refresher), and Editor-in-Chief of this paper, I had trouble ave you ever wondered why limes are article, the reason that these limey bastards you know what? They’re just neat. Oh deciding what my sign-off could be. My Hso expensive? Some supermarkets are so expensive is because these cartels are yeah, and I guess since my sign off for friends recommended as a joke to just put charge more than a dollar for a tiny, branching out to other means of business. these lettitor things is literally “limes,” that “limes,” But I actually loved it, so I did. singular lime. As someone who buys limes Since they are one of Mexico’s key exports, probably raises some eyebrows. If you ask me, limes are an underrated for cooking Mexican, Vietnamese, or Thai they are shifting to also becoming lime To tell the truth, I don’t really fruit anyway, and they should be in the food, I’ve always wondered why these cartels. Interesting, no? remember how my obsession for limes limelight. small, green babies are so costly. I can see You’re probably wondering why began. It was as an inside joke with my why weather or production would make I’m talking about limes. -
Theatermakers
AUGUST 1–5, 2018 THEATRES OF REVOLUTION: PERFORMANCE, PEDAGOGY, AND PROTEST Association for Theatre in Higher Education Annual Conference Boston, Massachusetts “AN ESSENTIAL WORK for theatre management, producing and arts administration students...a welcome addition to our curriculum.”—Steven Chaikelson, Director, MFA Theatre Management & Producing Program, Columbia University School of the Arts “SHOULD BE IN EVERY INDUSTRY CLASS AT COLLEGES AND UNIVERSITIES AROUND THE COUNTRY! I’m looking forward to using it as a base text in multiple classes.”—Lisa Dozier King, Director, BFA Theatre Management Program, University of Miami “WILL BE SURE TO HAVE A LIFE IN THEATRE SCHOOLS NATIONWIDE… CERTAIN TO SERVE AS A BIBLE for the trade moving forward.” —Megan Lohne, Stagebuddy “INVALUABLE and ENTERTAINING – A MUST READ for aspiring Broadway managers and producers!” —Charlotte St. Martin, President, the Broadway League Stop by the Allworth Press booth in the Exhibit Hall to meet the author! For more info, visit www.broadwaygeneralmanager.com and www.allworth.com TABLE OF CONTENTS “AN ESSENTIAL WORK for theatre management, producing and arts administration students...a welcome addition to our curriculum.”—Steven Chaikelson, Director, MFA Theatre Management & ATHE President’s Welcome Letter . 5 Producing Program, Columbia University School of the Arts ATHE Vice President for Conference 2018 Letter . 7 ATHE Mission and Goals . 8 ATHE Focus Group Representatives and Conference Planners . 9 ATHE Governing Council . 11 2018 Conference Committee . 11 Leadership Institute Information . 12 First-Time Attendees . 13 ATHE Annual Membership Meeting . 14 ATHE Awards Ceremony . .14 Keynote Speakers . 15 All-Conference Plenaries . 16 Performances . 18 Paid Workshops . 20 Excursions and Performances Series .