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 Betreff des Beitrags: Re: Reviews in der Presse
BeitragVerfasst: 14.07.2014, 20:30 
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Guy of Gisbornes Gefolgsfrau
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Das habe ich am 10.07.2014 in einer liegen gelassenen Zeitung im Costa gefunden! :engl:

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An meinen Berichten zu The Crucible und Richard III. arbeite ich und gibt es spätestens morgen :shy: :heartthrow:

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BeitragVerfasst: 17.07.2014, 09:52 
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Danke, Nora. :kuss: Die Reihenfolge hat sich inzwischen geändert - heute in der 'Metro':

Zitat:
Mary Challoner ‏@Kaprekar30

In Metro today - Five Plays Everyone's Talking about - #TheCrucible is No1! #RichardIII is No3 #RichardArmitage


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https://twitter.com/Kaprekar30/status/489686113528066048/photo/1

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BeitragVerfasst: 18.07.2014, 11:19 
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Gerade scheint wieder allgemein PR-Zeit angesagt. Yael Farber ist gerade bei NewstalkFM in Irland - allerdings für ihr Stück 'Nirbhaya':

Zitat:
Pavilion Theatre ‏@PavilionTheatre

Yael Farber @yfarber writer & director of @NirbhayaThePlay is in studio with @PatKennyNT - listen live to @NewstalkFM now! #NirbhayaDub


https://twitter.com/PavilionTheatre/status/490074562114359296

http://www.paviliontheatre.ie/events/view/nirbhaya

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BeitragVerfasst: 25.07.2014, 13:13 
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Lucas' sugarhorse
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Hatten wir den offiziellen Trailer vom Old Vic schon?
Das meiste kennen wir schon, nur der Schluss ist leicht variiert- das erste " We will burn.." OMG :ohnmacht: :ohnmacht: :ohnmacht: ...

https://www.youtube.com/watch?v=hruM1QQ47fM



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BeitragVerfasst: 25.07.2014, 13:29 
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Percy's naughty little barfly

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*Gänsehaut*

Das "together" am Ende klingt auch etwas anders :bibber: :heartbreak: :gooseb:


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BeitragVerfasst: 25.07.2014, 19:11 
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Squirrel's finest hidden treasure
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Ja, das klingt auch für mich anders.

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BeitragVerfasst: 25.07.2014, 20:02 
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Little Miss Gisborne
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Ich glaube der letzte Satz klingt nur deshalb anders, weil er im Gegensatz zu den Ausschnitten, die in den letzten Interviews gezeigt wurden, ungeschnitten war. Ich habe den Trailer nochmal mit den Ausschnitten der letzten Interviews verglichen und da erkennt man, dass es schon genau die gleiche Stelle ist, die gezeigt wird, allerdings bricht die Szene in den Interviews etwas eher ab als in dem Trailer.

Danke für's Posten, Nimue! :kuss:

Es ist der Hammer wie intense das Ganze rüberkommt... bei John Proctors letzten Worten in dem Trailer hatte ich richtig Gänsehaut. :gooseb:

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BeitragVerfasst: 28.07.2014, 16:32 
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'Film and TV now' bekommt die ComicCon, '50 Shades of Grey' und TC unter einen Hut:

Zitat:
Summer, San Diego Comic Con, Trailers and Theatre!
Posted by Lisa-Marie Burrows On July 28, 2014 0 Comment

Well what a crazy-busy few weeks it has been! The world of Film and TV media have firmly had their sights set Stateside, more accurately, at San Diego for their annual Comic Con.

Fans and media were treated to an amazing four days where both cast and crew from various films were in attendance in abundance. There were teaser trailers galore, hilarious press conferences and of course, the stars of the movies were there themselves (cue many selfies from excited celebs!).

The thing I love the most about Comic Con is gets you even more excited about film, if you weren’t impossibly excited already. It’s great to see movies which are coming up to tease our tastebuds and more importantly, it’s a great way for fans to interact with their silver screen heroes.
The Avengers cast at San Diego Comic Con

Sticking with films, another thing to get us all hot under the collar was the release of the 50 Shades of Grey trailer – and Jamie Dornan of course. WOW. If ever there was a film with a whole heap of hype and expectation dumped on its shoulders, then this is certainly it!

I was extraordinarily excited to see the trailer and was very surprised by the long length of it. It makes me wonder, what else can they tease us with in the future? Fans will certainly be wanting to see more footage in the coming months before the movie is released. What else can they possibly show that won’t be too x-rated for a trailer of course?!
50 Shades of Grey Trailer

Outside of the silver screen and onto the stage now and another production, which has been causing quite the stir of late is The Crucible.

I was lucky enough to get front row tickets for the Saturday evening performance directed by Yael Farber, which is performed in the round. After hearing such rave reviews, I was not disappointed. Not one bit.

The Crucible has received rave reviews and I cannot add to them enough. Outstanding.

The role of John Procotor played by The Hobbit’s Richard Armitage was powerful, chilling, mesmerising and more importantly, a memorable performance which stays imprinted on your brain, leaving you thinking about the play for days after.

I took my mother along to the performance and she thoroughly enjoyed it equally as much.

With the production performed in the round and sitting so close to the simplistic staging, it made us feel like we were actually there, in that time, drawing us in.

In short, it was incredible!

It has been a long time since I have watched a production that has given me chills right through to my inner core.

It has been a long time since I have watched a production that has given me chills to my inner core.

If you haven’t already purchased your tickets for the performance at the Old Vic in London, then you should not miss out.

With the last few weeks of summer remaining, I hope you all enjoy it and keep yourselves safe in the sun!

With love,

Lisa-Marie x


http://www.filmandtvnow.com/editors-blog/

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BeitragVerfasst: 12.08.2014, 18:45 
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https://twitter.com/Kaprekar30/status/4 ... 44/photo/1
In der time out: everybody's talking about:

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 Betreff des Beitrags: Re: The Crucible im Old Vic
BeitragVerfasst: 06.01.2015, 14:06 
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Interessantes Interview mit Yael Farber:
http://critics-associated.com/interview/the-crucible-interview-director-yael-farber/

Zitat:

The Crucible Interview: Director Yaël Farber

By Elisa Scubla on January 6, 2015@ElisaWSS



Following the Digital Theatre screening of The Crucible, we had the opportunity to interview multi-award-winning director and playwright Yaël Farber about the making of the play which opened at the Old Vic with rave reviews.


Miller’s The Crucible is relevant now as it was in the 50s and truly in every period of time when it was staged – what makes it so relevant?

YF: It is the mark of true genius that a work transcends time and is not beholden to the specificity of context that renders it accessible. The Crucible – like the Greek Tragedies – is a prism though which we learn about ourselves when witnessing the story unfold – and that story is complex. It does however, no matter which dictatorship or dominant ideology we find ourselves oppressed by, always come home to the same searing questions: who are we when faced with sacrificing others in order to disavow ourself? How much are we prepared to risk in order to resist an oppressive force that requires at least our complacency and at most our participation? And how deeply aligned are we with our idea of integrity – when the powers that be, demand that we compromise ourselves?

In an interview you said that you first read the play when you were 13 – Did those initial reactions from your first encounter with the play influence your approach to the play now?

YF: I was a South African teenager living in the white enclaves of a society dedicated to maintaining fear and suspicion as a currency in order to keep us in a dehumanized state. Civil disobedience is at the heart of The Crucible – just as its at the heart of Antigone. My reaction as a preteen reading The Crucible was to see the people around me in those pages. This was the defining guide for me when directing the work. It always is. It’s about recognizing what we witness on stage as ourselves in another context – forced to face ourselves and the decisions that the context requires of us. Theatre is mostly an imagined journey into the question: what would I do in that person’s position?

Many of your productions have used real testimonies from real people – with The Crucible, were you tempted to look at the original records of the Salem witch trials or did you work solely with Miller’s text?


YF: I have long had a fascination with this chapter of history and have in the past read trial records. This time I used these more to unlock language rhythms and to feel the societal textures of this remarkable community that we will never fully know.

Despite the context in which the play is set there is a personal story at its centre: that of John Proctor; his journey of self-discovery leads up to the question “What is John Proctor?” – What/who is John Proctor to you?

YF: He is our protagonist. The person we relate to who travels a particular narrative trajectory, sweeping us along his path until we ask who we ourselves would be if faced with his dilemmas. He is all that a protagonist needs to be: well intentioned, flawed (meaning human), doing his best, deeply conflicted and at odds with his own history. But he is a man worth our time and investment because ultimately he does not turn away from but towards all that the situation demands of him. Watching him come to terms with how much will be asked of him, and his decisions to meet these demands – is what creates a vicarious soul search for us as we witness this struggle of the soul.

The character of Abigail is a most interesting one; it’s easy to stigmatise her as the vengeful young woman, but really she is the product of the society she was born into and, instead of shamefully eclipsing from Proctor’s life she fights back – what were your thoughts when approaching this character from a director’s perspective and also from a personal one?

YF: Abigail takes agency. Unlike the girls or women of her time, she will not simply absorb what has happened to her, swallow the hypocrisy and fall into marginalized silence. She needs to be approached with respect and compassion in the creative process. She is a young girl feverishly in love. She has been used and will not go quietly. Initially she wants John before she ever wants revenge. She wants legitimacy when she has only ever been an orphan – but we cannot look away from the pathology of allowing and instigating innocent people to die to satiate her need for these things. She is a perfect representation of the society she comes from: A survivor; A fighter; A manifestation of all their unspoken resentments and malice… And again – a 17 year old girl who has been intimate sexually with a man for the first time in her life and believes he loves her and that she must solve the situation. She is any of us – if pushed far enough, and without guidance.

Every director has a different approach towards rehearsals; it is a very intimate moment for actors and directors to really dive into the characters. And obviously there are lots of ideas clashing – what is your process like?

YF: Intense, demanding, searching. Let’s just say we don’t sit at a table for a week analyzing with cups of tea and then stand up and move about on a designated playing area. I try to create a room safe enough to be dangerous; for actor’s to take real risks and discover. We weave the world we must represent and inhabit in a myriad ways that evolve uniquely to each rehearsal process. Actors who enjoy a traditional way of working and need to feel that the process and environment are predictable – will not enjoy the process of discovery that I and the company become dedicated to. Those who are up for that adventure are the artists I can make discoveries with. I am collaborative but do not believe that artistic creation is a democracy. I have very clear ideas of how a narrative must be enriched by each person in the room, while not being affected by everyone’s agenda. The actor’s job is to think egocentrically about the story from their character’s point of view. It is my job to firmly keep each beat of the narrative accountable to the larger sweep and accurately moving forward, focussed where it needs to be going. Personally I would not want to be on a Trans Atlantic flight during which the pilot takes everyone’s suggestions on how to get me home. I want the pilot to land that plane. Creativity requires that the passengers onboard are not passive. It is a magnificently interdependent exercise – but ultimately it is the director who must engage in what Ann Bogart calls: “the violence of decisions”. The work of the playwright is the map. I gate keep its intentions – even from my own wandering agendas. I ask the actors to reach deep and propose – and I stay lucid. We cast the net wide, we gather towards ourselves what to keep and then home and deepen what remains.

In the past you have worked on both adaptations of old time classics and original works – what are the stories that inspire you?

YF: Consistently it is always the stories about the tenderness of being human, and the decisions we make within the conditions we are given, as we reveal and form and discover who we are.

In your opinion, what is the power of theatre compared to other media, for example cinema?

YF: Theatre is an ancient ritual that keeps surviving against all odds. It is – at its best – what going to a place of worship is supposed to do. It connects us back to our community (we sit together in the dark, experiencing a shared transcendence of sorts); it connects us to our private selves ( as we walk the line with the protagonist who is living and enacting the dilemmas metres from us) and we connect to our experience of the ephemeral unknowable gods / God/ Divinity (even if that be of the self). The experience needs to be larger or deeper or further than we can take ourselves alone. I don’t know another medium that offers something so tribal and complete. Of course when theatre is done badly – it cannot compete with even the most mediocre of cinema. It’s a medium that asks all. I go to the theatre wanting everything. I am rarely satiated by what I see. But when I am – there’s nothing like it.

I remember you once said that in theatre the audience doesn’t get to see the ‘sweat and tears on the actor’s face’, but with the filmed version of The Crucible you definitely do. Did you get involved with the filming of the play? What are your thoughts on filmed theatre?

YF: I was cautious in that I have rarely seen a filmed play that does not fall between two stools. Rob Delamere showed me on our first meeting (which began as a breakfast chat and ended 9 hours later) that he was “all in” on ensuring that my vision for the live experience was his and the team’s guide in this process. We discussed every angle of what I believed to be important to capture. The Old Vic flew me back to London for the filming process so that performances were guided and homed for a final push. (This was filmed in the last week of a 3 month, 8 shows a week run); that my dialogue with both the theatre team and the cinema team was ongoing and detailed. I was back in Montreal once editing began but we worked via technology. Rob miraculously weaved each act together from hours of footage and camera angles. He would send a rough cut to me and I would watch through the nights (the time zone difference was not kind) and then send pages of notes back for changes – each of which Rob honoured meticulously, or advised against when he felt it could not work. Using cinematic shots is a whole other rhythm and series of choices that profoundly affects the viewer’s experience. I was grateful to be deeply a part of all these choices in the editing process and believe we have achieved an accurate representation of the theatre experience – with the added intimacy of close up. Film feels like a dangerous new flirt making eyes at me from across the bar. It feels inevitable, and very natural to me. I have no doubt I will fall more in love with it whenever we meet again…


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BeitragVerfasst: 06.01.2015, 15:27 
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:daumen: Danke! Kompomisslos im Sinne der Kunst - so hatten wir sie ja bereits eingeschätzt! ;)

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BeitragVerfasst: 06.01.2015, 21:01 
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Little Miss Gisborne
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Ja, sie bleibt sich wahrhaft treu. :sigh:

Umso besser, dass sie und Richard nochmal zusammen etwas auf die Beine stellen wollen. Das kann einfach nur gut werden! :mrgreen:

Danke für's Posten des Interviews, Nimue! :kuss:

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BeitragVerfasst: 13.01.2015, 12:14 
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Samantha Colley war gestern bei BBC Radio Scotland - ab 1:40:

http://www.bbc.co.uk/programmes/b04xrshl

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BeitragVerfasst: 20.01.2015, 14:37 
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Wohnort: Richard's Kingdom of Dreams
Ein Interview mit Marama Corlett mit einer Passage zu Richard:

Zitat:
Something wicked this way comes | Marama Corlett

With religious fundamentalism back on the global radar, a staging of Arthur Miller’s witch-hunting classic The Crucible has never felt timelier. First staged at the Old Vic in London last summer and boasting Richard Armitage (The Hobbit) in the lead role of John Proctor, Yaël Farber’s sold-out and critically acclaimed production will be screened at the St James Cavalier cinema for three nights next month. We speak to Malta-born, London-based actress Marama Corlett about the play, in which she plays the youngest of the female ensemble… and sets the (apparently supernatural) drama in motion.

Teodor Reljic
20 January 2015, 8:30am

What was the process of getting this role in the first place like? Could you tell us a bit about your previous experience on the stage, and how it may have helped you acquire the role of Betty?

I met casting director Maggie Lunn and director Yaël Farber at my audition. Maggie had seen me in a previous play I was in called ‘The Children’s Hour’, which was on at the West End a couple of years back. I was very excited to be called in by Maggie and, I feel very fortunate about the way it worked out. Yaël’s rehearsal process was not a conventional one, neither was her audition. Betty is the youngest member we see in the play, and I believe they preferred not to cast a real child for the role… so having quite a petite body worked to my advantage.

Yaël had a strong idea of what she wanted. I was asked to improvise quite a bit with the emotional scenes in the play. She was also very interested in experimenting with my body movement.

What were some of the most challenging aspects of getting into this character? It’s a very physical role, for starters... did you draw on your ballet experience to help channel this aspect of it?

It was by far my most physically and emotionally demanding role. Betty is believed to be possessed by the devil at the start of the play. We explored different types of bodily contortion, playing around with different strange unnatural movements. Together with Yaël and our movement director Imogen Knight I was able to improvise until finally deciding on what moves we wanted to keep. It would have been physically impossible without my ballet training.

I think the challenge initially is always letting go of yourself completely in front of a bunch of strangers and finally being okay with looking absolutely silly, making mistakes and making choices in a safe space. Tapping into such an extremely dark and sad story every performance was at times very emotionally draining and challenging, but we got through it making cups of teas for each other in between acts and simply taking care of each other as a company.

Given that the cast is a pretty large ensemble, and that the play is a classic of modern theatre, how did you all prepare for the production? What kind of unique vision did the director have for this oft-performed play? Was it hard to conform to it?

Yaël Farber had a vision of the play being ‘visceral’, to cut to the teeth and bone of the piece. I believe Yaël said that she wanted the audiences to understand that Miller was saying: the folk of Salem are us. We are them. Arthur Miller wrote a genius timeless play. You could easily draw many parallels from today’s world. Nothing we don’t recognise or respond to in our own lives now. First day of rehearsals we had to throw ourselves into the text into the play.

It’s an extraordinary story, so she pushed us to attempt to reach the extraordinary within ourselves to push one another improvising through the characters – we did our best to find the effect that every shift, every turn of events had on this community and on each other. Every day was about digging deep and finding an acute awareness of what the stakes were for everyone of us. It was definitely hard work, but it wouldn’t have worked any other way. Yaël Farber very cleverly brought new light to Miller’s play.

What was it like performing alongside dwarf-warrior Thorin Oakenshield himself, Richard Armitage?

I take my hat off to Richard. John Proctor is a dream character for any actor but also an extremely challenging and exhausting one. Still, after every single performance he never failed to sing autographs and say hello to huge queues of Hobbit fans waiting outside. I don’t know how he did it. He is a wonderful actor, and a very cool man. Also, quite tall for a dwarf.


How is theatre different from acting in film and television? And how would you describe the theatrical scene in London?

The theatrical scene in London keeps getting stronger and braver each year and has become more accessible, especially to the younger generation. The whole rehearsal process and build up to a performance on stage, rather then film or TV, is different. An actor has far more time to build his or her character, and connect with the director and cast. Performing the same piece every day, the repetition alone is challenging. The live audience makes it more exciting and scary, all at the same time. It’s all about experimenting with your fellow cast members finding ways to keep it fresh and alive. It’s a wonderful medium, and by far the best way to better your craft.

What advice would you give to other Maltese actors who hope to branch out into the international scene?

Whenever I’m back home I always make it a point to visit the theatre or keep myself up to date with the latest film and TV projects. Malta has a vast amount of talented artists and it’s only a matter of time before we see Maltese names popping up in international projects. I’d say hard work and determination are key. I’d love for Maltese actors to get recognition around the world. Avoiding jealousy, and supporting and encouraging each other instead, will get us there.


http://www.maltatoday.com.mt/arts/theatre_and_dance/48537/something_wicked_this_way_comes__marama_corlett#.VL5Wqy44dCv

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BeitragVerfasst: 20.01.2015, 15:12 
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Zitat:
he never failed to sing autographs
Ha! Das lässt mich heute nicht mehr los! Er sang Autogramme? :mad: :pretty:
Danke für's Posten! :blum: Ein schöner Artikel!

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