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BeitragVerfasst: 25.02.2015, 09:06 
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Die ganze Übersetzung von Bing ist zum Piepen... Da ist von "Cap Armitage" die Rede :lachen: Ich könnte mir vorstellen, daß das mein nächstes Urlaubsziel wird :evilgrin: :irre:

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BeitragVerfasst: 27.02.2015, 23:58 
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Und noch einmal die Shetland Times. Dieses Mal ein Miniinterview mit Marama Corlett:

Zitat:
AHS English students quiz actress over Crucible role
26/02/2015, by Shetland Times, in Arts & Entertainment, Features, Headlines

Secondary 5 pupils from the Anderson High School who are studying Arthur Miller’s The Crucible for their Higher English qualification have been given the chance to interview one of the stars of a live production of the play.

A live screening of a performance of the classic tale based around the Salem witch trials will be screened in Mareel this weekend, starring Richard Armitage (The Hobbit). In collaboration with promotion company Cinemalive, Shetland Arts offered the excited pupils the chance to ask Armitage’s fellow performer Marama Corlett, who plays Betty Parris, about her involvement.

Q) Do you feel the play has something to teach modern society?
A) The Crucible is essentially a play about what humans are truly capable of doing to each other, a reminder in a way. Although set in 1692 it draws parallels to today’s world encompassing our relationships with one another in time of complete madness and turmoil. It’s a timeless piece that resonates with any person reading or watching it. I believe it will continue to affect us for years to come.

Q) Is it emotional trying to act in such a horrific tale, especially since it is based on real events?
A) It’s an absolutely heartbreaking story and extremely excruciating to watch. It was hard at times to fight the emotions. It grabs your heart from the very first scene. Choosing to live the story or better being chosen to recreate these characters, I personally found a certain unconditional love and appreciation for my character. As an audience you want to reach out to them and hug them, you want them to make better choices, you want them to live but as an actor you sort of accept their journey and respect it and then everything starts to happen and they live again. Like an ancestor or a lost loved one I think of Betty from time to time.

Q) How did you get into the mindset of playing Betty?
A) Our director Yaël Farber wanted to explore the physicality of the characters. Betty is believed to be possessed by the devil at the start of the play and we experimented with different types of body contortions, playing around with different, strange unnatural movements. As a company we became united, spending long hours in the rehearsal room finding our characters and the right pace for the play. Once you do your homework and rehearsals it becomes almost natural to get into the mind set of Betty.

Q) Do you think the character of Betty, and the rest of the girls, set out at the beginning to intentionally hurt as many people as they did?
A) These children lived under extreme fear, restricted and suppressed by their society and belief system. Truly I believe they longed for love and understanding. One event which most probably started out as a innocent longing for freedom was quickly misunderstood and shadowed by fear and ignorance. I believe nothing was done intentionally. It felt like we took one breath at the start and only exhaled at the very end. A situation that got out of control.

Q) What was it like being involved in such a major production?
A) We have been so happy and humbled by the reviews and the many people that made the performances or are now watching it at the cinema. Yael Farber’s direction and Arthur Miller’s genius writing have together created a very beautiful visceral piece. It’s a very special play and each and every actor brought something unique and beautiful to their performances. It’s been a wonderful journey and I am truly grateful to be one of the story tellers.

• The Old Vic’s The Crucible is showing at Mareel on Sunday afternoon.


http://www.shetlandtimes.co.uk/2015/02/26/ahs-english-students-quiz-actress-over-crucible-role

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BeitragVerfasst: 02.03.2015, 23:41 
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Da heute (und am 10.03.) in Finnland TC in den Kinos läuft, gab es heute wohl ein Interview mit Richard in der Presse:

Zitat:
CinemaLive @CinemaLiveInfo

Finland! Pick up today's @iltasanomat to read an interview with Richard Armitage discussing #thecrucibleonscreen - In Cinemas 3 + 10 March!


https://twitter.com/CinemaLiveInfo/status/572371593571241984

Ich habe den Tweet relativ zeitnah gesehen und warte seitdem, dass ein Scan auftaucht. ;) :wait: :confetti: Die finnische RA-FB-Seite gibt bis jetzt auch nur den Tweet wieder. Abwarten und :coffee: .

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BeitragVerfasst: 05.03.2015, 00:47 
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Da hilft auch kein elektronischer Übersetzer. :nix: Der Vollständigkeithalber hier der erwähnte Artikel der finnischen 'Ilta-Sanomat' vom 02.03.2015:

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https://www.facebook.com/747931225252760/photos/a.748364771876072.1073741843.747931225252760/841204199258795/?type=1&theater

@Richard Armitage Finland: :thankyou:

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BeitragVerfasst: 06.03.2015, 19:50 
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Ein Interview von Robert Delemare mit 'Critics Accociated':

Zitat:
The Crucible Interview: Director Robert Delamere
By Elisa Scubla on March 6, 2015


Robert Delamere is currently CEO and Co-Founder of DigitalTheatre.com, which was established to capture and distribute world-class theatre to global audiences. We had the chance to speak with him following the success of The Old Vic’s sell-out production of The Crucible starring Richard Armitage. Read below for our in-dept interview…

How has DigitalTheatre.com evolved since it was established in 2009? Who is your target audience and has it changed since then?

When we launched in 2009 it was literally the first ever on-demand platform for theatre plays. Thinking about back then, I don’t know what the hell we thought we were doing, trying to launch a global website from an office in Poland Street! But we’re very proud of how it’s grown so far. I think its offer has grown, and we now have clear intentions regarding acquisitions of new content. Obviously with success come huge challenges – such as maintaining a 24h, 7 days a week, 365 days a year service and having to supply content for both our education website and the online consumers. It’s also a new business, a new young market – at the moment we are having a lot of international conversations with multiple countries around the world about partnerships. In a way it’d be like saying, on Monday night you can go to the Old Vic, on Tuesday night you can go to the Bouffe du Nord, on Wednesday night you can go to the Royal Opera House, on Thursday night you can go to the Liceu in Barcelona and so on. In terms of our audience we’re very surprised that, actually, by a small majority, our main audience is in North America, followed by the UK, Canada, Europe, Australia, and then interesting places like Israel, Russia and Brazil; interestingly our Facebook following is predominantly from Medina, from the Middle East.

Nowadays it is almost expected for theatre plays to be filmed and distributed in cinemas and/or online, but that was not the case when you started – what were the main preconceptions about filmed theatre and how did you overcome those?

I had quite a few people telling me that what I was doing was interfering with the theatre experience, but I felt like there was something very disconcerting with the way plays were usually filmed. Sometimes you could see the audience sitting in front of you and for me that was even more distracting in a way, because when you’re watching a play at home you’re not part of a collective group – which you are when you’re sitting in a theatre during the live performance. I feel there was a bit of a dislocation, whereas instead there should be a direct experience. Before this digital explosion people would visit a theatre website just to book tickets but that’s very different now, there are lots of online experiences attached to live events, with so many different offerings that you almost feel kind of crowded because everyone’s finding a different niche.

How do you address the problem of staying true to the original material?

Being a theatre and TV director I have a very particular set of skills that I can rely on when I’m working with theatre producers and directors. Different directors work in different ways but I tend to work with them in advance, and what I try to do is follow the original intention of their directorial vision. For instance, Yaël and I spent about ten hours in the BFI, just me understanding her thematic perspective and what she was trying to bring to life. Though I normally work with a DOP, for The Crucible I still effectively storyboarded the whole thing, which is quite lengthy (being 3 and half hours long). What you’re storyboarding are the key dynamics of the scene and what you’re doing is trying to figure out which perspective the camera should take, to ensure that it is with the vision of the production. It would be very easy for me to shift the interpretation by making a scene about Mary Warren when it’s actually about another character. It does become a bit like the David Mamet’s concept of beats – it’s about deciding moment by moment who is carrying the rhythm of the play at that point. Some directors are like ‘Robert just get on with it’, but some people are actually interested in being engaged in the making of the film. For instance Maria Friedman and Michael Attenborough – he was fascinated by how framing and cutting works in relationship to the rhythm of Shakespeare’s language, and Maria was really fascinated by the process of constructing a narrative through shots and seeing what were the differences between her vision and how that translates onto the screen. With Yaël and The Crucible there was a very deep understanding; it’s a play that I’ve directed myself, and I’ve been lucky enough to meet Arthur Miller when I was 24, so this was one of those plays which had a personal meaning and value. I think it was hugely helpful that I understood it from an actual live directorial point of view.

Do you do rehearsals with the actors?

There are no rehearsals with the actors. I know when people do broadcast they do rehearsals because they’re working to a camera script, but we do something slightly different. What we do is kind of a ‘surveillance shoot’, and we don’t really stick to a pre-ordained rehearsed shot structure – I prefer to have all those options. Nowadays we are very immersed in screen drama and we have an unconscious understanding of it – Eisenstein would be very happy! For me, if you’re watching a screen experience it has to obey (or disobey if that’s what you want) the language of the screen. There’s something extraordinary about live performances – If you think from the actors’ point of view, it’s a very unique environment for them, as they are able to play in a through line, which often they don’t get to do in film and TV, because scenes and even shots can be done days apart. I think that one of the reasons why The Crucible has had the impact that it had is because there are this very achieved actors doing these very complete and intense performances, and we were able to follow and ‘regalise’ them by capturing them on camera.

To me, live performance and filmed theatre don’t necessarily exclude each other, you can experience both – what are your thoughts on that? What are the advantages of watching filmed theatre as opposed to attending a live event?

I completely agree that filmed theatre and live events can co-exist. I think it’s kind of a dialogue, a bit like live concerts. For instance, there’s something absolutely unique about seeing people live, and you cannot replace that experience, but you can also hear the music better when you listen to it on a recording. Theatre is about human presence, it’s about being there, and capturing theatre is about creating a facsimile (almost) of being there, a version of being there, and what we try to do is making it as immersive as the original experience, but I don’t think one is better than the other. I think it’s brilliant that people in New Zealand can go and see the Old Vic’s The Crucible screening. It’s often said that theatre when it’s good can surpass many art forms, and when it’s bad it’s really bad, but I feel immensely proud of being able to express and expand the value of theatre and the way it holds ideas. These Miller narratives from the mid 20th century have equal resonance now, for what is going on in terms of extremism and cultural fear, and they are able to speak to an audience like any other contemporary play or film. Moreover, with filmed theatre you get the advantage of grading and having a proper sound mix in Dolby Atmos. The composer of the Old Vic’s The Crucible, Richard Hammarton, had actually done a spacial stereo mix in the Old Vic and when we came to the Dolby Atmos mix we took the structure of his spacial mix and translated that into an enhanced cinematic environment, which was incredible.

What is your creative process as a producer/director like?

Tom Shaw (Exec. producer at DigitalTheatre.com) and I have done 24 of these productions together in 5 years and that’s a lot of films to do, it’s probably showing on our faces! We have now an almost unconscious shorthand, and I think he knows when I’m in the ‘zone’, so he starts to get concerned when I’m not in it because that means there are issues with the capture or with the environment. We had a very frustrating process with the Old Vic. Because The Crucible was staged in the round, all the exit signs were in the back of every shot, so we had to paint them all out – and you can imagine the pain, that’s thousands of shots!

Talking about The Crucible – How was the live performance captured on camera? What were the challenges/pleasures of filming it?

It’s almost like the camera is the theatre director in their final run-through before going to an auditorium. I’m sure when Yaël was in the round she would have to constantly shift her perspective because she was trying to direct the actors around that space. I think there’s something interesting about being the director’s eye at that point, and I think that the play being staged in the round made it easier for its cinematic transposition. When we did Ghosts, the design was essentially these three planes of existence, these transparent walls, and it had an incredible cinematic sense because of the depth of field. You could see how Richard Eyre and the designer Tim Hatley had been thinking, and I found it very easy to connect. It’s all about connection – me trying to connect with the director’s vision and the actors’ performances and bringing them into play. With The Crucible we did a lot of weekend editing… a lot of midnight editing in fact. Some of it we did here and then the all-night was at Elstree in the Dolby Atmos Sound Mix. There’s something fantastic about working on a giant screen, experiencing it like the audience does. That’s all to do with trying to get the film experience up to a certain level because you’re putting something in a cinema that is sitting next to – in people’s imagination – what else they’ve experienced at the cinema. You can’t make excuses – the audience wants to watch something that is good, that is shot well, and whose sound is effective. That’s why we use stunt mics – the tone of the human voice is very important. At the beginning we used directional mics but it meant that everything was a bit ‘boomey'; it didn’t have the intimacy of talk, and sound is something that we’re very conscious about.


When I spoke with Yaël Farber she said that that ‘using cinematic shots affects deeply the viewer’s experience’, especially with the ‘intimacy of the close up’. With such an intense play as The Crucible you really get to see the ‘sweat and tears’ on the actors’ faces – how do you chose those shots?

Those shot choices came from the live performances. In a rehearsal room I would know when an actor is what I would call ‘singing’ – when their blood is ‘singing’, when they are absolutely on it. And actually if you shot three shows you could also see when actors were really in synch, so later you can try and protect those moments. Sometimes we cut in between different performances, but a lot of the time you’ll find that the sections that are absolutely ‘alive’ are using shots from the same evening, because of what happened then between those two performers or five performers or twenty-four as in The Crucible. Shooting in the round was interesting because you’re effectively in a cinematic environment and you’re changing the angle all the time. In terms of crossing the line it was deeply challenging; it was also the biggest headache during the edit. On The Crucible we had nine cameras which we shifted and adapted in relationship to our onscreen learning, each time considering if the height was correct, if the lens was correct, if it became distracting etc. That’s why we don’t use tracking shots or cranes. I guess it’s a personal choice, I’m sure lots of people will disagree, but I feel that that’s too much of a self-conscious filming and positioning. You don’t do that as an audience, your eyes act like a camera in the sense that they focus on a specific area of the stage but you’re not moving in three dimensions.

How do you choose the theatres/theatre companies to approach? Or do they approach you? Isn’t there a risk that only profitable productions will be filmed?

In terms of choosing work, now it’s really an interplay between people approaching us and us approaching them. To be honest we don’t have the capacity to deal with everything that we’re asked to do which can be very frustrating, because there’s some stuff that I really wanted to capture. Unfortunately the event cinema aspect of what’s happening with captured theatre will only adhere to the given marketing and revenue expectations of cinema. I think there will be breakthrough projects that people didn’t expect to do well, but most of the times you are dealing with the value system of ‘what’s the title, who’s in it’ and that frustrates me. In an ideal world you’d want to be capturing a world that’s slightly more diverse. The Old Vic’s determination to capture the production of The Crucible and Richard Armitage’s willingness to commit to that was actually amazing. He would do press and marketing campaign like he would do for a movie – and actually at the time he was also doing press marketing for The Hobbit. It really takes the actors, and the lead actors, the director and the producers – a whole collective engagement – to make things fly. And there’s a growing attitude here which is ‘let’s just shoot everything and knock it in cinemas and see what happens’, and that makes me slightly nervous. One of the reasons why I’m doing this now and not directing is because I was concerned that this whole theatre capture process would go the wrong way, that it would actually be really detrimental to the theatre, that it would make theatre look bad and be very cheapening. I do think it’s a market place it that sense you will always have a ’99p shop’. But we are really proud of the four pieces that we put into cinemas – Merrily We Roll Along, Private Lives, Ghosts and The Crucible.

What’s Digital Theatre Plus?

Digital Theatre Plus is our main education resource which we established about two years after DigitalTheatre.com was launched. It was part of our original concept of what we wanted to do – to make the performing arts accessible to a wide audience. We’re now in 12% of UK secondary schools which is great, and there’re over 3 million students worldwide with access to it so it’s become a very influential and effective learning resource. We have institutions which subscribed from Shanghai to Rio and across the Middle East, as well as lots of European countries. What we offer on the website are essentially the films plus complementary material and downloadable information, which is curated by our guiding light on education, Fiona Lindsay, who used to be one of the founding members of RSC education department. The great thing about it is that we release content into it every single week, that’s a commitment we made early on. And that’ll actually increase to twice a week, as we’ve got a lot of material to put out there in our curated way. Digital Theatre Plus has been really growing – last month by 280%. All the interviews on the website are about dignifying the theatre process and creation, and it’s not someone talking about things 30 years ago, it’s someone like Andrew Lincoln talking about Macbeth, so there’s a contemporary resonance to it. A lot of performers said how amazing it was to talk about what they do, especially designers and directors and wardrobe people who literally are never asked – there’s so much wisdom in these people and it’s so great to capture it. To hear from someone who’s actually doing it, that’s their job, helps students understand what a career in media is and means.


http://critics-associated.com/primary/the-crucible-interview-director-robert-delamere/

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 Betreff des Beitrags: Re: The Crucible bei Digital Theatre
BeitragVerfasst: 10.03.2015, 21:46 
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Interview mit Yaël Farber im Licht der bevorstehenden TC-Screenings in Südafrika - wenig zu The Crucible, aber Einblicke in ihre Arbeitsweise.

http://www.artlink.co.za/news_article.h ... ntID=37547

Zitat:
Yael Farber - a woman driven by passion
Sharmini Brookes
03/09/2015 10:08:54



Sharmini Brookes: It’s fitting that my interview with world-renowned South African playwright and director, Yael Farber, takes place on International Women’s Day.

Farber’s first piece of writing was the acclaimed A Woman in Waiting produced for the stage after South Africa’s Truth and Reconciliation (TRC) hearings in the 1990’s, in collaboration with Thembi Mtshali-Jones, one of the woman waiting for news of her missing relatives and loved ones. It was while sitting and listening to the stories being recounted there that the concept of portraying the immense grace and capacity for patience of these women came to her.

Since then issues based on women’s experiences have been central to such of her plays as the award-winning Mies Julie - an adaptation of Strindberg’s Miss Julie re-set in apartheid Cape Town -and her own play Nirbhaya meaning ‘fearless one’ in Hindi about the brutal rape of 23-yr-old Indian medical student Jyoti Singh Pandey in Delhi.

Farber, a self-confessed feminist, recalls the lines of the Resistance Song sung by black South African women on their March in 1956 against the imposition of pass laws - ‘you strike a woman, you strike a rock’ – but adds that she does not consciously impose a feminist doctrine in her plays. She is, rather, moved by the energy of women and children - the most vulnerable members of society at times of social upheaval – to face up to the challenges that threaten them.

Farber left South Africa in her 30s but it was a move towards something – a new relationship - rather than a desire to leave the country she still strongly identifies with.

The biggest influence on her youthful trajectory towards the successful playwright/director she is today was Lara Foot – a protégé of Barney Simon at the Market Theatre and Farber is proud to be an inheritor of that tradition of social protest.

‘It was Lara Foot who, with her piercing blue eyes, identified me as a director and recognized my drive.’

Refreshingly, Farber is not shy about recognizing her own talent to bring out the best in people. We can see this in her work as actors bare their souls to the audience.

‘Stories matter to me and the stakes are high. The power of the story when I was watching protest theatre at the Market is the way it can create empathy.’

She abjures the notion of collective guilt when apathy becomes the stronger party. Recalling Hannah Arendt’s concept of the ‘banality of evil’ in relation to the part functionaries played in the Holocaust, she is passionate about resurrecting the morally responsible individual whose true humanity is revealed in their capacity to think and reflect before acting. But Farber is also quick to note that alongside the cruelty of some humans there is also great courage and heroism as in our own struggle icons - Biko, Sobukwe and Mandela - and many lesser known ordinary people.

Her production of Arthur Miller’s The Crucible for the Old Vic in London in 2014 is currently on screen in cinemas around South Africa and intensely showcases Miller’s vision of what it means to make the moral choice to be human.

John Richardson at the Old Vic knew she would be right for this production. The Old Vic had recently undergone refurbishment to create a theatre in the round for one season. It suited Farber very well. She doesn’t believe in the Proscenium arch as it creates voyeurs rather than active participants. In Farber’s plays, the audiences are intimately close to the action often with actors making their way through the audience to the stage. The idea of story-telling – as though we are all sitting around a fire listening to a narrator - is what appeals to her.

Farber is currently rehearsing for a new production of Nirbhaya and adapting Salome while working on a version of a Greek play.


The play releases at Cinema Nouveau on Saturday, 14 March for limited screenings (details at www.cinemanouveau.co.za).


Sharmini Brookes
Freelance writer

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BeitragVerfasst: 12.03.2015, 13:49 
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Heute gibt es hier ein Radio-Interview mit Yael Farber:

http://www.classicfm.co.za/

Zitat:
CinemaLive ‏@CinemaLiveInfo

Correction:Tune in to Classic FM today at the slightly earlier time of 5:15pm SAST/3:15pm GMT to hear an interview with director @yfarber


https://twitter.com/CinemaLiveInfo/status/575999428240211968

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BeitragVerfasst: 13.03.2015, 11:21 
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Yaël Farber über ihre besondere Affinität zu The Crucible, den Casting-Prozess usw.: :irre:

http://www.iol.co.za/tonight/movies/far ... QK5GviIVJ9

Zitat:
March 13 2015 at 11:32am
By Diane de Beer Comment on this story
to yael farber pic2
JOHAN PERSSON
Director Yael Farber in action. Picture: Johan Persson
She has a long and enduring history with Arthur Miller’s The Crucible, says South African director Yael Farber. Her 2014 sell-out season at London’s Old Vic was captured live for its global cinema release with showings in Cinema Nouveau around the country from tomorrow.

“I discovered The Crucible via my older sister who was studying the play at school. She and my late father also visited family in the US, and made a trip, text in hand, to the original village of Salem in Boston. She spoke to me of the story in such vivid terms that I was drawn to seek out the text for myself,” she explains.

Two years later Farber played Abigail in a high-school production and already at that young age she knew that she was going to spend her life engaged with such stories. Later, as a young actress, she again took on the role of Abigail in a Lara Foot production presented at the Market in 1996.

With the play such a part of her DNA, when offered this production at the Old Vic, she knew she wanted to create a powerful visceral production, but with a determination to clear the way for the work to shine through.

Using words like “safeguard”, she feels her duty as a director is to ensure that the playwright is the one who has his say.

Based in Montreal, Canada, but also working around the world and at the time rehearsing a play in India, she flew into London for two casting sessions. “I had a wonderful casting director who, after many conversations about each part, would whittle down a list to four,” she says.

She had two crazy casting sessions which started as soon as she arrived, jetlagged and bleary-eyed. But that probably focused her mind. Her leading man, Richard Armitage, met with her in a dimly-lit dining room in Leeds, but, says Farber, the connection and rapport was instant. “I was given a long list of gorgeous men but wanted someone with a specific hunger, who’d make the journey with me.”

It was important in the casting process to find actors who would understand that they were going to find a way to best serve the play.

She laughs at the demands she made on her cast. Anyone who knows Farber’s work is familiar with her physical approach. “I don’t believe in acting from the neck up,” she remarks. And once you see the production, you will know that is the same way she describes her work in Mies Julie (“…we climb, crawl and dig our way through the text. We kneel, float and press walls to find truth.”); her Crucible actors followed suit.

“When we had to do any physical work, they would say: ‘Are we going to gooi now?’ and it became part of the daily routine,” she says, smiling at the memory.

That’s perhaps as much laughing that would come from the rehearsal space because for Farber, it’s a story about people fighting for their lives. There’s urgency in what Miller has to say about mindless persecution and false accusations that gather frightening power. She wanted the audience to feel that, to lean in and be part of the proceedings.

“I wanted to grab them in the gut,” she adds as she talks about these enormous stories that shattered worlds – and still do.

“We live in a post-modern society and can find rough equivalents for the play, but we are so used to detaching from the horrors around us. There’s this horrific numbing in a world confronted with evil on a regular basis,” she says to illustrate her decisions.

Set in the round, the play unfolds in a series of scenes, each starting with an empty space which then fills up mostly with people but also with the odd chair and the elements like water, fire and dirt.

It’s all about telling the story from an empty space, from nothing. “That comes from my South African background where we made theatre with very little,” she says. And it has served her well and allowed her stories to breathe on their own.

She wanted to create a sense of community, of a man and a woman living together, add a biblical sense to the proceedings which plays into the mockery of piety so prevalent in the play. For her, it’s about audiences knowing they’ve come to the temple.

“We have to remember these things in our marrow,” she stresses. That’s the power of stories that really matter – the only ones she’s interested in telling.

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BeitragVerfasst: 13.03.2015, 12:25 
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Little Miss Gisborne
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Danke, Arianna! :kuss:

Ihre Arbeitsweise ist so facettenreich und interessant, dass ich immer wieder gerne davon höre und lese. Man merkt, dass der Erfolg von The Crucible nicht von ungefähr kommt. :daumen:

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BeitragVerfasst: 13.03.2015, 14:13 
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Ich lese und höre Interviews mit Yael Farber ebenfalls immer sehr gern. Sie sind stets informativ und wirken immer authentisch. Danke für's Herüberholen, Arianna.

In ihrer Heimat Südafrika läuft die Promo nochmal auf Hochtouren. Gerade gibt es wieder ein Radiointerview. Der Sender bietet bisweilen Programm-Highlights via Soundcloud. Vielleicht haben wir ja Glück?!

Zitat:
CinemaLive ‏@CinemaLiveInfo

Tune in to @CapeTalk567 in 10 minutes to hear @yfarber discussing #thecrucibleonscreen - In @sterkinekor cinemas from tomorrow!


https://twitter.com/CinemaLiveInfo/status/576367383369162753

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BeitragVerfasst: 13.03.2015, 17:47 
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Arianna hat geschrieben:
Yaël Farber über ihre besondere Affinität zu The Crucible, den Casting-Prozess usw.:

[...]
Her leading man, Richard Armitage, met with her in a dimly-lit dining room in Leeds, but, says Farber, the connection and rapport was instant. “I was given a long list of gorgeous men but wanted someone with a specific hunger, who’d make the journey with me.”
[...]



Yael definiert 'gorgeous' - damit kein falscher Eindruck entsteht: ;)

Zitat:
yael farber ‏@yfarber

gor-geous (adj) a.beautiful b.Characterized by magnificence or virtuosic brilliance: the pianist's gorgeous technique. a=bonus b=essential


https://twitter.com/yfarber/status/576422002912837634

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BeitragVerfasst: 14.03.2015, 10:36 
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Richard's purrrfect transylvanian bat
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Sie ist ja trotzdem eine Frau mit Augen im Kopf :evilgrin: das hat sie evtl im Affekt geschrieben

Egal wie sie jetzt dieses 'gorgeous' definiert, ich denke, die zwei haben sich schon extrem gut verstanden, sonst wäre die Zusammenarbeit auch nicht so gut verlaufen...


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BeitragVerfasst: 14.03.2015, 11:47 
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Minou hat geschrieben:
Sie ist ja trotzdem eine Frau mit Augen im Kopf :evilgrin: das hat sie evtl im Affekt geschrieben

Meinst Du den Tweet? Ich glaube das eigentlich nicht, sondern sehe da zeitlich und inhaltlich schon einen Zusammenhang zu dem Interview, das Arianna gepostet hat. Das sie Augen im Kopf hat, bestreiten weder sie noch wir - der "Bonus". :lol: Sie wirkt aber auf mich stets sehr politisch engagiert und auch "frauenbewegt", so dass ich schon denke, dass sie bewusst das b.) betont. Zudem hatte die Glückliche ja eine Liste von "gorgeous men".

Minou hat geschrieben:
Egal wie sie jetzt dieses 'gorgeous' definiert, ich denke, die zwei haben sich schon extrem gut verstanden, sonst wäre die Zusammenarbeit auch nicht so gut verlaufen...

Da hast Du recht. Da spielte so viel mehr eine Rolle.

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BeitragVerfasst: 14.03.2015, 13:07 
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Little Miss Gisborne
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Ich sehe das auch so, Laudine. Ich habe seit ich Yaël's Twitter-Account verfolge noch nicht einen Tweet von ihre gesehen, den sie im Affekt getweetet hat. Was sie tweetet hat Hand und Fuß und hat eine tiefere Bedeutung oder einen bestimmten Bezug. Ich glaube sie wollte, dass ihre Aussage nicht auf das reduziert wird, was die meisten Menschen mit dem Wort "gorgeous" verbinden.

Das bloße Aussehen war sicherlich nicht ausschlaggebend bei ihrer Auswahl und nur an Richard's Talent hat sie ihre Wahl bestimmt auch nicht festgemacht. Es spielen einfach sehr viele Aspekte eine Rolle... es muss zum Beispiel auch menschlich passen und man muss was die Umsetzung des Stücks angeht auf der selben Wellenlänge liegen. Hätte all das nicht gestimmt, wäre das Ergebnis bei weitem nicht so brilliant.

Und das Yaël und Richard wieder zusammen arbeiten wollen, zeigt dass es zwischen den beiden stimmt. :daumen:

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BeitragVerfasst: 26.05.2015, 10:26 
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Der Dramatiker, Theaterdirektor und Schauspieler Steven Berkhoff erwähnt in diesem Interview Richard neben Antony Sher und Mark Strong lobend: :hutab:

Zitat:
In Conversation with: Steven Berkoff

Actor, author, playwright and theatre director Steven Berkoff was born in London in 1937. After studying Drama in London and Paris he performed with repertory companies before forming the London Theatre Group (L.T.G.) in 1968. His first original stage play East, was presented at the Edinburgh Festival in 1975.

A prolific writer, his other original plays include West, Decadence, Greek, Kvetch, Acapulco, Sink the Belgrano, Brighton Beach Scumbags and Ritual in Blood – and he has also published collections of short stories, production journals, travel writings and poetry in addition to his autobiographies Free Association and Diary of a Juvenile Delinquent.

Among his many adaptions for the theatre are Kafka’s Metamorphosis (now a GCSE set text) and The Trial, Agamemnon (after Aeschylus), Poe’s The Fall of the House of Usher as well as a stage version of Elia Kazan/Budd Schulberg’s On the Waterfront.

His work has been – and continues to be – performed in many countries and languages and tours both in the UK and abroad with his one-man shows. He has also directed and toured productions of Hamlet, Macbeth and Oscar Wilde’s Salome.

His film career has been equally diverse with appearances in A Clockwork Orange, Barry Lyndon, The Passenger, Octopussy, Beverly Hills Cop, Rambo, Under the Cherry Moon, Absolute Beginners and The Krays. He also directed and co-starred with Joan Collins in the film version of Decadence.

He is still as busy and driven as ever, continuing to both write and perform, and in 2013/14 took his first steps into the world of self-publishing with Bad Guy: Journal of a Hollywood Turkey and the production journal Richard II in New York.

His first novel – Sod the Bitches – has just been published, amidst some controversy, by Urbane Publications.

In the midst of his many current commitments he recently found time to answer a few questions for us …

~~~:~~~

VL: Given that you’re a man who has more or less turned ploughing your own furrow into an art form, it isn’t surprising that you decided to self-publish both Bad Guy and Richard II in New York; the surprise lies in the fact that you chose that route because you couldn’t find a publisher for them – although you did find one for your latest book. After umpteen volumes of plays, poetry, autobiography and short stories that’s a bit startling to say the least. What reasons – if any – were you given by the commercial publishers for not wanted to handle your work?

SB: The reasons are numerous and mainly seem to centre on what will give the publishers a swift profit. Although I have sold many tens of thousands of plays for Faber & Faber, there is always somebody there who seems to have an allergy to all my recent works.

I did send my most recent book to one or two other publishers who, whilst admiring, felt it too risky.

In the end, Matt Smith of Urbane Publications was enthusiastic and supportive from the beginning.

He also did a first class job of editing, which streamlined the book.

VL: Publishers are in the business of making money, of course, but we’re increasingly seeing accusations of dumbing down being levelled at the major publishing houses. There was, for instance, much jumping on the Fifty Shades of Grey bandwagon, but it’s sadly hard to imagine many of them being prepared, now, to put their professional necks on the block to publish a book in the way, for instance, that Marion Boyars did for Last Exit to Brooklyn. Do you think the pursuit of profit is in danger of becoming the be-all and end-all of publishing?

SB: Yes, profit does seem to be the main influence and people like Marion Boyars and Jonathan Calder are sadly disappearing. Calder published my very first collection of short stories called Gross Intrusion and I was always grateful to him for his support.

VL: Having tried self-publishing, is it something you’d do again? I imagine you enjoyed the freedom of it.

SB: Yes, I would love to do it again since it is incredibly tedious to have one’s work read and passed over by some Oxbridge wimp.

VL: Going back to Bad Guy and Richard II in New York, they’re two very different books … but with a unifying thread running through them: the way professional actors are treated by the industries that depend on them to put the proverbial bums on seats. Your attempts to retain some degree of artistic integrity in the face of the megalomaniac director in Bad Guy make for entertaining reading, in an appalling sort of way, but also highlight the fact that the people who have the money in the film world display seldom have the vision or talent to go with it. It must be very hard to stay true to yourself under those circumstances – and you’ve been doing it for a long time …

SB: Enjoyed writing Bad Guy and particularly Richard II, which Faber turned down although they had already published a successful work journal called I am Hamlet, which was well-reviewed. This would have made a fantastic companion piece, so unfortunately I had to go to self-publishing.

Regarding being true to yourself when working for less than talented film producers, it’s also challenging and I have written many works stimulated by that, i.e. my play Acapulco, when doing Rambo with Sylvester Stallone.

VL: Richard II in New York is different to Bad Guy, in that you had artistic control of the project – but even there, people with little to no grasp of the theatre were ultimately making the decisions and pulling the strings. It’s a fascinating insight into your creative processes though – they’re very different to those of – let’s say more orthodox directors. Your approach is much more experimental and organic … working with the actors and going with the text to see where it takes you. But that requires a particular sort of actor, doesn’t it – quite a brave one?resvilp6l

SB: I enjoyed directing, since as you say you are not only in control, but attempting to illuminate the work with whatever insights and techniques one has gleaned over the years.

The actors are always with me since I make them the backbone of the play and not devote excess time with the stars leaving the ensemble to fend for themselves, as in our usual ghastly Shakespeare productions we see in England.

VL: You’ve been known to be a bit scathing about today’s generation of actors; are there any you feel have – in your own words – ‘that glint of the possessed’?

SB: There are many actors that have, over the years, developed immense power and technique . Perhaps not as much as there were in my younger days, but I have seen Antony Sher be brilliant in Death of a Salesman, in a performance that can only be developed by an actor who has spent decades on stage.

Also, Mark Strong was excellent recently in A View from the Bridge.

Richard Armitage was also quite spellbinding in The Crucible.


We notice that all these performances were in Arthur Miller plays, which suggests to me that great actors are only made from great dramas. Since there are so few great modern dramas, it’s not attracting or developing great modern actors.

VL: Your latest book – with the typically uncompromising title of Sod the Bitches! – has just been published by a new kid on the publishing block, which you mentioned earlier – Urbane Publishing. It’s being marketed as your first novel, but reading it, there are very clear echoes of your own life in it. I’m prepared to be wrong, but I got the definite feeling that it was a cathartic venting of spleen … and it became a novel almost accidentally.

SB: Yes there are always elements of one’s own life in all and any books worth reading.

But it was still a work of fiction with much invention and what could be better than to vent ones most poisonous spleen under the guise of ‘Literary’ work!

VL: Inevitably, accusations of misogyny have been levelled at both it and you … although I didn’t find it particularly so – it was too OTT for me to take it entirely seriously (sorry). I was mostly struck by the fact that it seemed to be two completely different books woven together – the first about John’s tormented and really seedy personal life and the second about his acting career. The sections dealing with acting are quite lyrical, the others – not so much – in fact, reading them is like being bludgeoned repeatedly over the head with a brick. I remember East having a similar effect on me. You like to unsettle people, don’t you?

SB: Sorry for that, it’s not my intention to unsettle people.

VL: Many years ago, I read Virginia Fairweather’s Cry God for Larry and she told a story about Laurence Olivier that I’ve never forgotten. One night when he was playing Othello, he gave such an astonishing performance it was as if he had moved to a higher plane than everyone else. He was, by all accounts, absolutely mesmerizing … so much so that the cast lined his route back to his dressing room and applauded him. He just stalked straight past them all and slammed the door. When someone worked up the courage to go in and say “What’s wrong? You were stunning out there tonight”, he replied, “I know I was, but I have no idea how I did it.”

Has anything like that ever happened to you?

SB: I know this story and I believe it’s a hoary old chestnut. Larry always knew exactly how he did it, but wasn’t sure how he could repeat it, so much depends on the chemicals in the brain on the night. But I do know exactly how he felt and he was a brilliant Othello and I in fact was there that very night, it was a first night in Chichester after a season at the Old Vic and it was beyond spell-binding… and the reason why white actors should never be denied the right to play any role in drama.

That is a form of PC fascism which actors detest.

VL: You and ‘The Establishment’ have long been at odds with each other; it’s why you started writing your own material – so it must be very deeply satisfying to see one of your plays – your adaptation of Kafka’s Metamorphosis – become a set text at GCSE.

SB: Yes it is, very much so.

VL: Say ‘Steven Berkoff’ to many, possibly most, people these days and they’ll think Octopussy or Beverly Hills Cop rather than East or Sink the Belgrano – in fact introductory preambles to interviews or articles with or about you invariably mention General Orloff and Victor Maitland. Does that rankle, or are you inured to it after all these years?

SB: Not a bit, I’m glad to be offered those roles so I can survive between rejections.

VL: Are there any roles – classical or otherwise – you’d have liked to play but never got the chance?

SB: No, I’ve played most of them.

VL: You’re in your late 70s, you’ve written several of the most iconoclastic plays in British – if not world – theatre, you’re a critically acclaimed actor, writer and poet … many people your age, who have achieved what you have, would be considering putting the brakes on and slowing down. But you’re showing no signs of doing any such thing and plainly have zero intention of going gentle into that good night. What is it that drives you on?

SB: The boredom of BBC telly.

VL: Finally, it’s a tradition for us to ask our guests to name five works – plays, books, poems – that have been influential in their lives:

SB: Oscar Wilde’s Salome.

Edmund Rostand’s Cyrano De Bergerac.

Andrew Schartzbart’s The Last of the Just.

Franz Kafka’s The Trial.

Tolstoy’s Resurrection.


https://vulpeslibris.wordpress.com/2015/05/26/in-conversation-with-steven-berkoff/

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