Bei ihm ist es sogar sexy, wenn er nur in einem Buch blättert - von dem Rest ganz zu schweigen ...

Da stimme ich Dir vollkommen zu.
Er ist Sünde.
@ Laudine, schönes Sig. ( mit Neidfaktor wegen Berlin ) , und ich bin schon ganz
Und warte auf die Bilder die noch kommen.
Na, mal sehen ob die Premiere dieses Jahr auch in Berlin ist .

[...]
To celebrate the hundredth anniversary of the publication of Proust’s Swann’s Way a series of public events have been planned in New York. Part of 92Y’s contribution to the centenary was a staged reading of Pinter’s The Proust Screenplay, which was produced at the National Theatre in London in 2001 but had never been performed in the States before its 92Y debut. Helmed by the same director from the National’s production, the 92Y’s reading was directed by Di Trevis, who collaborated with Pinter to stage his screenplay. Performed by a cast of fourteen—led by Peter Clements, a dead ringer for Proust—the crowded event felt like a staged reading in name only; fully blocked out with lighting cues, set pieces, and props, the presence of the actors’ scripts was the only sign that this wasn’t a complete production.
[...]
In the end, Pinter’s screenplay, as sophisticated and loyal as it is, encounters obstacles that have little to do with its quality and more to do with the way Proust’s work affects us. At intermission, a woman sitting behind me leapt up and declared, “Horrible,” huffing out of the theater. But I’m not sure the failure, if there was one, belonged to Pinter, to say nothing of the director and cast. Reading is always personal, but it may be that no other work is scored for the individual the way Proust’s is. The uncanny way Proust mirrors thought gives us a feeling of ownership of the work that we rarely experience with other books. We all have our own way of imagining the three steeples, little Marcel’s boyhood crushes, Swann’s walk, and, of course, just what that madeleine tastes like. Proust’s memories mingle with our own and transform them. His prose is so infectious that I start to feel drowsy when Marcel sleeps; my lungs wheeze when his asthma flares up.
[...]

the crowded event...

There is one short scene Swann has with Odette who is off stage at the time. He comes to her home late at night. Richard Armitage stamps his feet three times to simulate knocking on the door. It called to mind the beginning of the barrel scene in The Desolation of Smaug, when Bilbo stamps three times after he realizes he has no barrel with which to escape. You couldn’t have two more different scenes, but the timing of the knocks seemed identical to Bilbo’s stamps and I remember thinking about it. My own involuntary memory.

http://armitageagonistes.wordpress.com/2014/01/21/i-saw-something-fine-from-the-second-row-and-more-more-more-pinterproust-part-3/

Kann es sein, dass dieser Teil von Perrys Bericht noch nicht herübergeholt wurde?

Thaks to Perry on tumblr!
http://armitageagonistes.wordpress.com/ ... view-blog/

Sie ist meiner Ansicht nach nicht die Dame im schwarz, sondern die andere. Aber das ist ja auch eigentlich egal.

AC ist nicht die Dame in blond, die neben ihm auf dem Sofa sitzt und uns den Rücken zukehrt.

The Cast including Di Trevis speaking with Richard Armitage on the sofa, Annabel Capper standing, talking to Natalie Turner-Jones, and Laura Hillier and Kersti Bryan, in the foreground.