Belarus Free Theatre Opens up Its Digital Archive to Share 24 Theatrical Productions from the Past 15 Years

Total Page:16

File Type:pdf, Size:1020Kb

Belarus Free Theatre Opens up Its Digital Archive to Share 24 Theatrical Productions from the Past 15 Years FOR IMMEDIATE RELEASE: Thursday 2 April 2020 BELARUS FREE THEATRE OPENS UP ITS DIGITAL ARCHIVE TO SHARE 24 THEATRICAL PRODUCTIONS FROM THE PAST 15 YEARS WILL ATTENBOROUGH, STEPHEN FRY, ANDREI KHLYVNIUK, DAVID LAN, JULIET STEVENSON & SAM WEST JOIN NEW FAIRY-TALE-INSPIRED CAMPAIGN #LOVEOVERVIRUS 2020 marks the 15th anniversary of Belarus Free Theatre (BFT), the foremost refugee-led theatre company in the UK and the only theatre in Europe banned by its government on political grounds. Ahead of the announcement of the full programme of BFT’s 15th anniversary celebrations, and in response to the coronavirus pandemic, the company will open up its digital archive to make 24 acclaimed stage productions free to watch online, alongside the launch of a new fairy-tale-inspired campaign: #LoveOverVirus 15 YEARS OF THEATRICAL HIGHLIGHTS FREE TO WATCH ONLINE Belarus Free Theatre began 15 years ago this week – on 30 March 2005 – in Minsk under Europe's last surviving dictatorship. Since 2011, the company has been based between Minsk and London where its co-founding Artistic Directors, Natalia Kaliada and Nicolai Khalezin, are political refugees in the UK. New productions are created and rehearsed over Skype before premiering in continually changing underground locations in and around Minsk. Over the past decade, BFT has - through necessity - pioneered creating award-winning theatre at distance and will now share a raft of its theatrical highlights with audiences online at a time when more than a third of the world’s population is adapting to daily life under lockdown. Beginning this Saturday (4 April), and continuing each weekend for the next three months, 24 productions will be made available to watch online on BFT’s YouTube channel: https://www.youtube.com/c/BelarusFreeTheatre Each production listed below will air on the date indicated at 8pm GMT and will be available to watch for the following 24 hours. The full programme is: Date Production (year of world premiere) Performed in: Subtitled in: Sat 4 April 4.48 Psychosis (2005) Russian English Sun 5 April Generation Jeans (2006) Russian English Sat 11 April Zone of Silence (2008) Russian English Sun 12 April Discover Love (2008) Russian English Sat 18 April New York’79 (2010) Russian English Sun 19 April Minsk’11. A Reply to Kathy Acker (2010) Russian English Sat 25 April Nearest and Dearest (2012) Russian Russian Sun 26 April Merry Christmas, Ms Meadows (2013) Russian English Sat 2 May King Lear (2012) Belarusian English Sun 3 May Red Forest (2014) English Russian Sat 9 May Ivanov Family's New Year Tree (2012) Russian Russian Sun 10 May Time of Women (2015) Russian English Sat 16 May Price of Money (2014) English Russian Sun 17 May Trash Cuisine (2015) English Russian Sat 23 May Tomorrow I Was Always a Lion (2016) English Russian Sun 24 May Onyx (2016) Russian English Sat 30 May House №5 (2017) Russian / Belarusian English Sun 31 May Burning Doors (2016) Russian English Sat 6 June A Part of the Rain (2019) Russian Russian Sun 7 June Well-being (2019) Russian Russian Sat 13 June Kōan (2018) N/A – dance work / no dialogue DerMagenFinDelMöön. Stories by Kharms English Sun 14 June Russian (2018) Sat 20 June Trustees (2018) English Russian Sun 21 June Reykjavík’74 (2020) Belarusian Polish #LoveOverVirus CAMPAIGN Belarus Free Theatre has always extended its reach far beyond theatre walls and 2020 is no exception. Alongside exploding taboos on the world stage BFT has pioneered an award-winning global model of artivism that unites artistic, geopolitical, environmental and human rights concerns. Fairy-tales take centre-stage in the latest campaign also launching this week on BFT’s YouTube channel: https://www.youtube.com/c/BelarusFreeTheatre Each evening at 6pm GMT throughout the months of April and May, members of BFT’s permanent ensemble will be joined by some of the company’s famous friends – including Will Attenborough, Stephen Fry, Boombox frontman Andrei Khlyvniuk, David Lan, Juliet Stevenson and Sam West – to read extracts of their favourite fairy-tales and short stories. Highlights from the line-up include: Author Date Title Performed by Belarusian folk legends 31 March performed in Belarusian by professor Andrej Kaliada Dmitry Mamin-Sibiryak 1 April A Grey Neck performed in Russian by Sergey Kvachonok Japanese folk tale 2 April Pear, up! Pear, down! performed in Russian by Andrey Urazov Sergey Mikhalkov 3 April Feast of Disobedience performed in Russian by Yulia Shevchuk Hans Christian Andersen 4 April The Snow Queen performed in Russian by Roman Shytsko Rumpelstiltskin from The Blue Fairy Book 5 April performed in English by Samuel West Belarusian folk tale 6 April Oh And The Golden Snuffbox performed in Belarusian by Alaksiej Saprykin Viktor Dragunski 7 April A Girl on The Ball performed in Russian by Nastasya Korablina Hans Christian Andersen 8 April Thumbelina performed in Belarussian by Anastasiya Dubatouka Dmitry Mamin-Sibiryak 9 April A Tale of Milk, Oatmeal and Gray Cat Murka performed in Russian by Stanislava Shablinskaya Oscar Wilde 15 April The Selfish Giant performed in English by Stephen Fry 25 April Will Attenborough – reading to be announced on @BFreeTheatre 5 May Juliet Stevenson – reading to be announced on @BFreeTheatre 15 May David Lan – reading to be announced on @BFreeTheatre For further details on #LoveOverVirus follow @BFreeTheatre #LoveOverVirus nods towards BFT’s continuing collaboration with the celebrated Belarusian writer, Alhierd Bacharevic, which began this year with Dogs of Europe. This winter, BFT will premiere The Most Recent Book by Mr. A underground in Minsk – marking the first time the company has tackled a fairy-tale. Based on Bacharevic’s latest novel, the production will scale the heights of the magical and absurd in a blazingly contemporary theatrical fairy-tale for grown-ups. Belarus Free Theatre’s co-founding Artistic Director, Natalia Kaliada, said: “As the world is united in the greatest fight for survival many of us have ever known, over in Minsk – just a three-hour flight away from London - Alexander Lukashenko continues to insist that the coronavirus does not exist, claiming that “the world has gone mad”. The population of Belarus – 9.5 million people – already living under dictatorship for more than 25 years, now endure the double threat of deadly misinformation handed out by an authoritarian leader. Nicolai and I fled Belarus a decade ago and have been political refugees in the UK ever since. We have both been imprisoned for our political work, so know first-hand how important it is to bring dreams, imagination and hope to the fore even in the darkest of times. Stories allow us to dream, to freely explore the outer reaches of our imaginations. At a time of unprecedented insecurity and fear we wanted to create an online space to celebrate and share these enduring stories together. Bringing together old friends and new in our #LoveOverVirus campaign we hope to offer thought- provoking diversion in a celebration of unity and community, and by opening up our digital archive we hope audiences can revisit some of their favourites shows from across the past 15 years and discover productions that have never been seen before in the UK. Over the coming weeks and months we will launch a series of online masterclasses to reveal how Belarus Free Theatre has created theatre in the most challenging and restrictive of conditions. It is our hope that by sharing what we’ve learnt we can inspire more people to use their creativity and imagination to look towards a more peaceful and hopeful future”. ENDS Notes to Editors’ Press contact: Jennifer Reynolds / [email protected] / +44 7736 84 22 37 On Belarus Free Theatre (BFT) BFT is the foremost refugee-led theatre company in the UK and the only theatre in Europe banned by its government on political grounds - was founded in 2005 in Minsk under Europe's last surviving dictatorship. Described by The New York Times as, “one of the bravest and most inspired underground troupes on the planet”, BFT has brought audiences some of the world's most provocative and breathtakingly physical theatre - 46 brand new productions performed in more than 40 countries over the past 15 years. Alongside exploding taboos on the world stage BFT has pioneered an award-winning global model of artivism that unites artistic, geopolitical, environmental and human rights concerns. Since 2011, BFT has been based between Minsk and London where its founding Artistic Directors, Natalia Kaliada and Nicolai Khalezin, are political refugees in the UK. BFT’s existence is illegal in a country where only state-sanctioned theatre is permitted, and yet its 12-strong permanent ensemble based in Minsk campaign, educate and perform every single day of the year. New theatrical productions are created and rehearsed over Skype and performed in constantly changing underground locations in and around Minsk. Actors and audiences are under the constant watch of the authorities; performances have been raided by the KGB and audience members arrested. In spite of this, BFT is a hot ticket – a 50-seat venue typically sells out in less than 30 minutes. Awards for BFT include: the 2007 Human Rights Prize of the French Republic, awarded to a cultural institution for the first time in the history of the Prize for the play Discover Love and for BFT’s outstanding track-record of creating brave, blazingly imaginative and important theatre in exceptionally difficult circumstances; a Special Mention Award at the XII Edition of the Europe Theatre Prize in 2007, proposed by Vaclav Havel, Harold Pinter and Tom Stoppard, for BFT’s opposition to the oppression of the Belarusian government and for the stage productions, Generation Jeans, Being Harold Pinter and Zone of Silence; in 2008, BFT was awarded Second Prize at the inaugural Freedom to Create Prize which recognised the Company as a Global Artistic Ambassador for Human Rights; and in 2011, BFT received the Atlantic Council Award for the people of Belarus.
Recommended publications
  • Elgar Chadwick
    ELGAR Falstaff CHADWICK Tam O’Shanter Andrew Constantine BBC National Orchestra of Wales Timothy West Samuel West CD 1 CD 2 Sir Edward Elgar (1857-1934) Sir Edward Elgar (1857-1934) Falstaff – Symphonic Study in C minor, Op.68 Falstaff – Symphonic Study in C minor, Op.68 1 I am not only witty in myself, but the cause that wit is in other men 3.59 1 Falstaff and Prince Henry 3.05 2 Falstaff and Prince Henry 3.02 2 Eastcheap - the robbery at Gadshill - The Boar’s Head - revelry and sleep 13.25 3 What’s the matter? 3.28 3 Dream interlude: ‘Jack Falstaff, now Sir John, a boy, 4 Eastcheap - the robbery at Gadshill - The Boar’s Head - and page to Sir Thomas Mowbray, Duke of Norfolk 2.35 revelry and sleep 13.25 4 Falstaff’s March - The return through Gloucestershire 4.12 5 Dream interlude: ‘Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of Norfolk’ 2.37 5 Interlude: Gloucestershire. Shallow’s orchard - The new king - The hurried ride to London 2.45 6 Come, sir, which men shall I have? 1.43 6 King Henry V’s progress - The repudiation of Falstaff and his death 9.22 7 Falstaff’s March - The return through Gloucestershire 4.12 8 Interlude: Shallow’s orchard - The new king - Total time 35.28 The hurried ride to London 2.44 BBC National Orchestra of Wales 9 Sir John, thy tender lambkin now is king. Harry the Fifth’s the man 2.24 Andrew Constantine 10 King Henry V’s progress - The repudiation of Falstaff and his death 9.25 George Whitefield Chadwick (1854-1931) Tam O’Shanter 11 Chadwick’s introductory note to Tam O’Shanter 4.32 12 Tam O’Shanter 19.39 Total time 71.14 BBC National Orchestra of Wales Andrew Constantine Falstaff, Timothy West Prince Henry, Samuel West George Whitefield Chadwick, Erik Chapman Robert Burns, Billy Wiz 2 Many of you might be coming to Elgar’s great masterpiece Falstaff for the very first time - I truly hope so! It has, undeniably, had a harder time working its way into the consciousness of the ‘Elgar-lover’ than most of his other great works.
    [Show full text]
  • Peter Barnes and the Nature of Authority
    PETER BARNES AND THE NATURE OF AUTHORITY Liorah Anrie Golomb A thesis subnitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drarna in the University of Toronto @copyright by Liorah Anne Golomb 1998 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliagraphiques 395 Wellington Street 395, nie Wellington OttawaON K1AW Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à fa National Libmy of Canada to Bibliothèque nationale du Canada de reproduce, loaq distriiute or sell reproduire, prêter, distri'buer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. PETER BARNES AND THE NATURE OF AUTHORITY Liorah Anne Golomb Doctor of Philosophy, 1998 Graduate Centre for Study of Drama University of Toronto Peter Barnes, among the most theatrically-minded playwrights of the non-musical stage in England today, makes use of virtually every elernent of theatre: spectacle, music, dance, heightened speech, etc- He is daring, ambitious, and not always successful.
    [Show full text]
  • Is Time Running out for Democracy in Belarus?
    Is Time Running Out for Democracy in Belarus? Thursday, 17th December 2020 at 5pm Following a flawed election in August 2020, which was neither free nor fair, Belarusians have protested the denial of democracy. Thousands of protesters have been arrested. Detention is widespread. Hundreds have been subjected to torture and other prohibited ill treatment. Police use of force is routine. Ten protesters have been killed. The authorities act with impunity. The pioneers of democracy in Belarus are either in prison or forced into exile. The acknowledged leader of the democratic Belarus movement, Sviatlana Tsikhanouskaya, continues to call for free and fair elections and to galvanise democracies across the globe in support of democracy in Belarus. Alexander Lukashenko, the last dictator in Europe, reasserts his grip on power. After four months of protests, what options are there for democracy in Belarus? This webinar will bring together the key international actors and we will grapple with the issues facing democratic Belarus. How do we make sanctions meaningful? Will there be accountability for the serious human rights violations taking place in Belarus? Is the potential of the Council of Europe as a broker for peace being overlooked? What can the OSCE achieve? Can Russia’s influence be used to support democracy in Belarus? Can the UN system hold Belarus to account? Will the EU be able to insist that Belarus complies with democratic values? Is there a role for the UK? All these questions and more will be discussed in depth. There will be plenty of opportunities for questions from all those attending.
    [Show full text]
  • Demarcating Dramaturgy
    Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
    [Show full text]
  • The State of Artistic Freedom 2021
    THE STATE OF ARTISTIC FREEDOM 2021 THE STATE OF ARTISTIC FREEDOM 2021 1 Freemuse (freemuse.org) is an independent international non-governmental organisation advocating for freedom of artistic expression and cultural diversity. Freemuse has United Nations Special Consultative Status to the Economic and Social Council (UN-ECOSOC) and Consultative Status with UNESCO. Freemuse operates within an international human rights and legal framework which upholds the principles of accountability, participation, equality, non-discrimination and cultural diversity. We document violations of artistic freedom and leverage evidence-based advocacy at international, regional and national levels for better protection of all people, including those at risk. We promote safe and enabling environments for artistic creativity and recognise the value that art and culture bring to society. Working with artists, art and cultural organisations, activists and partners in the global south and north, we campaign for and support individual artists with a focus on artists targeted for their gender, race or sexual orientation. We initiate, grow and support locally owned networks of artists and cultural workers so their voices can be heard and their capacity to monitor and defend artistic freedom is strengthened. ©2021 Freemuse. All rights reserved. Design and illustration: KOPA Graphic Design Studio Author: Freemuse Freemuse thanks those who spoke to us for this report, especially the artists who took risks to take part in this research. We also thank everyone who stands up for the human right to artistic freedom. Every effort has been made to verify the accuracy of the information contained in this report. All information was believed to be correct as of February 2021.
    [Show full text]
  • Bbc Radio 3 - Sounds of Shakespeare April – May 2016
    BBC RADIO 3 - SOUNDS OF SHAKESPEARE APRIL – MAY 2016 MONDAY 18TH – FRIDAY 22ND APRIL Essential Classics Monday 18th - Friday 22nd April 0900 - 1200 In the week leading up to the Shakespeare 400 anniversary, the guest on Radio 3’s morning programme is Adrian Lester OBE, acclaimed for his performances as Henry V and Othello at the National Theatre – winning the Evening Standard Best Actor award. He’ll talk about Shakespeare, his life as an actor and choose some fascinating music. Producer: Sarah Devonald, Somethin’Else Composer of the Week Monday 18th - Friday 22nd April 1200 – 1300 William Byrd There is frustratingly little evidence that William Byrd was personally acquainted with his fellow Elizabethan, William Shakespeare. Although, a tantalising reference to “the bird of loudest lay” in Shakespeare’s sonnet, The Phoenix and the Turtle hints that they may have been more than mere contemporaries. As a Roman Catholic in Elizabethan England, William Byrd was persecuted by the state and often forced to tread a dangerous path between his personal convictions and his duty to the Queen. His musical talent and his strength of character enabled him not just to survive, but thrive. Despite his trials, he was, and continues to be, celebrated as the greatest British musician of his age. SOUNDS OF SHAKESPEARE LIVE 22nd – 24th April, Stratford-upon-Avon Radio 3 broadcasts live all weekend from its pop-up studio at the Royal Shakespeare Company’s The Other Place theatre in Stratford-upon-Avon and at venues across the town. Actors, musicians, poets, singers and orchestras perform a huge range of songs, film scores, jazz, chamber music, choral works and world music - all inspired by Shakespeare's works.
    [Show full text]
  • A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
    Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible.
    [Show full text]
  • Writing Figures of Political Resistance for the British Stage Vol1.Pdf
    Writing Figures of Political Resistance for the British Stage Volume One (of Two) Matthew John Midgley PhD University of York Theatre, Film and Television September 2015 Writing Figures of Resistance for the British Stage Abstract This thesis explores the process of writing figures of political resistance for the British stage prior to and during the neoliberal era (1980 to the present). The work of established political playwrights is examined in relation to the socio-political context in which it was produced, providing insights into the challenges playwrights have faced in creating characters who effectively resist the status quo. These challenges are contextualised by Britain’s imperial history and the UK’s ongoing participation in newer forms of imperialism, the pressures of neoliberalism on the arts, and widespread political disengagement. These insights inform reflexive analysis of my own playwriting. Chapter One provides an account of the changing strategies and dramaturgy of oppositional playwriting from 1956 to the present, considering the strengths of different approaches to creating figures of political resistance and my response to them. Three models of resistance are considered in Chapter Two: that of the individual, the collective, and documentary resistance. Each model provides a framework through which to analyse figures of resistance in plays and evaluate the strategies of established playwrights in negotiating creative challenges. These models are developed through subsequent chapters focussed upon the subjects tackled in my plays. Chapter Three looks at climate change and plays responding to it in reflecting upon my creative process in The Ends. Chapter Four explores resistance to the Iraq War, my own military experience and the challenge of writing autobiographically.
    [Show full text]
  • Culture and Change in Belarus
    East European Reflection Group (EE RG) Identifying Cultural Actors of Change in Belarus, Ukraine and Moldova Culture and Change in Belarus Report prepared by Yael Ohana, Rapporteur Generale Bratislava, August 2007 Culture and Change in Belarus “Life begins for the counter-culture in Belarus after regime change”. Anonymous, at the consultation meeting in Kiev, Ukraine, June 14 2007. Introduction1 Belarus, Moldova and Ukraine have recently become direct neighbours of the European Union. Both Moldova and Ukraine have also become closer partners of the European Union through the European Neighbourhood Policy. Neighbourhood usually refers to people next-door, people we know, or could easily get to know. It implies interest, curiosity and solidarity in the other living close by. For the moment, the European Union’s “neighbourhood” is something of an abstract notion, lacking in substance. In order to avoid ending up “lost in translation”, it is necessary to question and some of the basic premises on which cultural and other forms of European cooperation are posited. In an effort to create constructive dialogue with this little known neighbourhood, the European Cultural Foundation (ECF) and the German Marshall Fund of the United States (GMF) are currently preparing a three- year partnership to support cultural agents of change in Belarus, Moldova and Ukraine. In the broad sense, this programme is to work with, and provide assistance to, initiatives and institutions that employ creative, artistic and cultural means to contribute to the process of constructive change in each of the three countries. ECF and GMF have begun a process of reflection in order to understand the extent to which the culture sphere in each of the three countries under consideration can support change, defined here as processes and dynamics contributing to democratisation, Europeanisation and modernisation in the three countries concerned.
    [Show full text]
  • The Arts Council of Great Britain
    A-YUAAt J`2 101" The Arts Council Twenty-ninth of Great Britain annual report and accounts year ended 31 March 1974 ARTS COUNCIL OF GREAT BR(fAMm REFERENCE ONLY DO NOT REAAOVE I j,FROM THE LIBRARY ISBN 0 7287 0036 0 Published by the Arts Council of Great Britai n 105 Piccadilly, London wIV oAu Designed and printed at Shenval Press, Englan d Text set in `Monotype' Times New Roman 327 and 334 Membership of the Council , Committees and Panels Council Committees of the Art Pane l Patrick Gibson (Chairman ) Exhibitions Sub-Committee Sir John Witt (Vice-Chairman ) Photography Committee The Marchioness of Anglesey Serpentine Gallery Committee Professor Harold C . Baldry Performance Art Committee The Lord Balfour of Burleigh Alan Bowness The following co-opted members serve on the Lady Casson Photography Committee : Colonel Sir William Crawshay, DSO, TD Michael Elliott Bill Gaskins The Viscount Esher, CBE Ron McCormic k The Lord Feather, CBE Professor Aaron Scharf Sir William Glock, CBE Pete Turner Stuart Hampshire Jeremy Hutchinson, Q c and the Performance Art Committee : J. W. Lambert, CBE, DsC Dr A. H. Marshall, CB E Gavin Henderso n James Morris Adrian Henri Neil Paterson Ted Littl e Professor Roy Shaw Roland Miller Peter Williams, OBE Drama Panel Art Panel J. W. Lambert, CBE, DsC (Chairman) The Viscount Esher, CBE (Chairman) Dr A. H. Marshall, CBE (Deputy Chairman) Alan Bowness (Deputy Chairman ) Ian B. Albery Miss Nancy Balfour, OBE Alfred Bradley Victor Burgi n Miss Susanna Capo n Michael Compton Peter Cheeseman Theo Crosby Professor Philip Collins Hubert Dalwood Miss Jane Edgeworth, MBE The Marquess of Dufferin and Av a Richard Findlater Dennis Farr Ian Giles William Feaver Bernard Gos s Patrick George Len Graham David Hockney G.
    [Show full text]
  • Supporting Cultural Actors of Change in Belarus, Moldova and Ukraine
    East European Reflection Group (EE RG) Supporting Cultural Actors of Change in Belarus, Moldova and Ukraine Synthesis Report Prepared by Yael Ohana, Rapporteur Generale Bratislava, September 2007 1 Executive Summary “The roots of (culture’s) ability to draw in bystanders, sceptics and even adversaries lie in another fundamental social difference between the arts and other activities – they trade in meanings”.1 The European Cultural Foundation and The German Marshall Fund of the United States have begun a process of cooperation with the aim of supporting the capacity of cultural actors to be effective agents of change in Belarus, Moldova and Ukraine. As a first step in designing their approach and programming to underpin the efforts of those cultural actors working towards the democratisation, modernisation and Europeanisation of each of these countries, an East European Reflection Group process has been established. This process included three distinct phases – the preparation of situation assessments for each country concerning the capacity of the cultural community to contribute to processes of transformation, the corroboration of the findings presented in each of the reports with influential cultural actors and stakeholders in each of the countries at country consultation meetings and the elaboration of a synthesis of the results of these two phases as a basis for the development of strategic action on the part of ECF and GMF (and potentially a selection of other donor partners) in support of cultural actors of change in the three countries concerned. Three country specific reports outline the needs of each cultural community and specific measures that could improve the local situation of the independent culture sector.
    [Show full text]
  • Cult 31 En.Pdf
    "The history of war was replaced by the history of victory," this quote from the book The Unwomanly Face of War: An Oral History of Women in World War II” by Svetlana Alexievich very aptly describes the ideological reality in which we’ve been exisng for decades. The staged burning of a village, four thousand red and green balloons, veterans who are forced to aend the parade, but stripped of the single-me payments before Victory Day… We are waing for a real victory day – it will be the victory of light and love. 1. PERSECUTION, CONVICTIONS, CULTURAL POLICY 2. SYMBOLS 3. LIFE OF PEOPLE BEHIND BARS 4. DISSENT AND CULTURAL ACTIVISM 5. VOICES OF BELARUSIAN CULTURE 6. INTERNATIONAL SOLIDARITY 7. REPORT ON VIOLATIONS OF CULTURAL RIGHTS 8. POLITICAL PRISONERS’ BIRTHDAYS ЯК ДАПАМАГЧЫ ДЗЕЯЧАМ І ДЗЯЯЧКАМ КУЛЬТУРЫ падтрымайце кампанію Save Our Songs 02 1. Persecution, Convictions, Persecution, Convictions, Cultural Policy Cultural Policy Mikoła Dziadok [Mikola Dziadok], an acvist and blogger, had his file sent to the prosecutor's office, he is charged under three arcles of the Criminal Code: illegal acons with explosive substances; organizaon and preparaon of acons that grossly violate public order; calls for acon aimed at harming the naonal security of Belarus via the Internet. Photo: tut.by Another 14 people were convicted in Brest in the "Karahod case". For "acve parcipaon in group acons that grossly violate public order" they were sentenced to terms from 1.5 years of house arrest to 1 year of colony. Фота мае ілюстратыўны характар. This year on May 9 at the state level not only Victory Day will be celebrated but also the Day Edward Paterson @suh5pence, unsplash.com of the state flag and coat of arms.
    [Show full text]