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Both The Yard and the Park Theatre originate in the ambitions of impressively determined founders. Though in some ways the two venues are very different, Miller and Bond express the purpose of what they’re doing in much the same way. “How do you engage with your community and how do you diversify your audience? But I think it’s especially true in London which is growing so quickly and the population is changing all the time.”
“One can imagine a near-future museum with every important artwork in the world – the entire contents of E H Gombrich’s 1950 classic The Story of Art – made manifest in a single super-didactic replica collection. This is not necessarily a bad thing, as long as no one feels fooled. A copy is just a copy, entirely legal and often useful (not least for scholarship and education), and becomes a forgery only if the work is used to defraud.”
‘The People v. O.J. Simpson’ Creators On Their Relationship With Veracity And Why All Film Is Manipulation
“All the shows we get compared to are documentaries. We are a work of drama, and that sometimes allows us to go dig deeper. [But] even documentaries aren’t as truthful as you think they are. [If] someone says something in a documentary and you cut to someone else’s face, that filmmaker has made a decision.”
Raphael Schumacher “was performing in an experimental theater production in the courtyard of Pisa’s Teatro Lux when a member of the audience noticed that the rope around his neck was too tight. The actor’s head was covered at the time, but the spectator — a female medical graduate — saw him trembling and realized something was wrong.”
“The research goes somewhat against the old assumption that simply repeating a motor skill over and over again – for example, practising scales on the piano or playing the same level on your game over and over again – was the best way to master it. Instead, it turns out there might be a quicker (and more enjoyable) way to level up.”
“‘The goddam movies. They can ruin you. I’m not kidding.’ At 17, Winona Ryder underlined those words by Holden Caulfield in one of two copies of The Catcher in the Rye she was carrying with her. ‘Me and Holden are, like, this team,’ she said.” Because she turned out to be completely incapable of phoniness, even when it might have done her some good.
“Depending on who you ask, the ‘Dark Web’ – the Internet’s mysterious undercurrent accessible only through specialized software – is either a libertarian utopia or a criminal hellscape run by cryptoanarchists trading stolen bitcoins. Now it’s more than either.” A Q&A with the founders of the new literary magazine The Torist.
“National Theatre director Rufus Norris has committed to ensuring gender equality in terms of the directors and living writers the venue employs by 2021. … He added: ‘There are a lot of women playwrights and women directors coming through, so it’s our responsibility to encourage that and reap the benefits.'”
“Air strikes by a Saudi Arabia-led coalition and attacks by fundamentalist groups linked to Al Qaeda and ISIS have caused widespread destruction to Yemen’s heritage, losses that have been under-reported compared with the destruction wreaked by extremists in Syria and northern Iraq. The latest casualty is the National Museum in the city of Taiz, which was badly damaged when shelled by Houthis militants on Sunday.”
Islam Gawish, a 26-year-old satirist with 1.6 million Facebook followers, was arrested last Sunday, ostensibly for running a website without a license. Following a swell of online protest, authorities released him the next day with the statement that he was found not to have any links with terrorists.
How A Discreet Art Shipper Quietly Became A Wealthy Dealer – And Got Sued By His Russian Oligarch Client
Just as Camelot was the emblematic show of JFK’s day (“about the idealism and glamour of courtly power, and also about its fragility”) and South Pacific was of the Truman-Eisenhower era (“about what America was going to do and be after the Americans had won their terrible war”), argues Adam Gopnik, Hamilton captures both the changes and the contradictions in the U.S. during this President’s term.
“We’re looking at classical music and the broader arts as being woefully under-representative of the communities in which they reside. That’s one piece of the puzzle, but it’s only the art form. Then I see key minority communities that are strongly represented in the population but not represented in the field. There’s this reciprocal void that has to do with history, barriers, lack of opportunities, lack of access. To bridge that gap is where Sphinx comes in.”