“Much has been said recently about the growth of world literature in the age of globalization, but this has overwhelmingly come from those writing in English and/or dealing with literatures in the Romance languages.”
It has long been assumed that Shakespeare’s father was a small-town glover and dealer in hides and wool, who went from riches to rags. The new research suggests that, far from going bust, John Shakespeare was reinvesting in wool and making even more money than ever, some of it via shady deals. It was also wool, not the theatre, that prompted William to leave Stratford-upon-Avon for London in 1585, where he could act as the family’s business representative.
The film and television industry is far from an Edenic paradise of equality where diversity reigns supreme, Ruby Rose plays the harpsichord, and Shonda Rhimes lectures biracial hunks on the perils of toxic masculinity. In fact—and someone should probably give Breitbart a heads up on this one—Hollywood is as amorally capitalistic and irritatingly anachronistic as America itself.
National Sawdust, which opens this week in Williamsburg, Brooklyn, aims to be a trendsetting launchpad for new talent in contemporary music, its organizers said, with a focus on emerging artists, commissions and collaborative projects that cross-pollinate genres and styles.
Broadway and Times Square today would not be recognizable to those who last saw it in the mid-’70s or, for that matter, in the late ’20s. Broadway musicals are as popular as ever, but much of the grit and seediness has been washed clean, and the area is now more akin to a family-friendly theme park than a bawdy vaudeville enclave.
“I literally have had my play stolen from me,” Tommy Smith said in an email sent to colleagues and the press this week.
Here is the thing about how discrimination works: No one ever comes right out and says, “We don’t want you.” In the publishing world, they don’t say, “We just don’t want your story.” They say, “We’re not sure you’re relatable” and “You don’t want to exclude anyone with your work.” They say, “We’re not sure who your audience is.”
“The problem is far-reaching, especially among companies of NYCB’s scale. And yet, I want to believe that I work in a field that cares about the voices of women and people of color. I want to believe that an art form that fancies itself as progressive, and a company situated in one of the most forward-thinking cities in the world, isn’t complacent about racism and sexism. Unfortunately, I don’t believe any of this yet.”
“Ms. Alexander is a well-qualified teacher, and we have the utmost confidence that she will provide quality art instruction to our nation’s students as she rotates through each of the 98,000 public schools in this country,” said Secretary of Education Arne Duncan, who explained that Alexander will teach a 40-minute studio art course to each of the grade levels at a different school each day, beginning with Colby High School in Denver on Wednesday, until she eventually visits every school in the nation, at which point she will cycle back to the beginning and start again.
Comprising anywhere from one third to about half of the population, introverts sometimes appear shy, depressed, or antisocial, when that’s not always the case. As Susan Cain put it in her famous TED Talk, introverts simply “feel at their most alive and their most switched-on and their most capable when they’re in quieter, more low-key environments.”
Patricia Barker has been “instrumental in preventing the regional company, which is Michigan’s only professional ballet company, from shutting its doors. And, under her direction, both the size of the company and the breadth of the works it performs have grown.”
Friel’s diverse output, spanning a 50-year period, was bound together by his passion for language, his belief in the ritualistic nature of theatre and his breadth of understanding.
Sebastiano Magnanini, 46, was convicted in 1998 of stealing an altarpiece by Tiepolo from a church in Venice. “[He] was 24 at the time, and the theft – characterized as an operatic farce by the Italian news media – alarmed some in the country and fanned debate about how to protect treasured artwork.”
“A seven-member international jury made up of artists, curators, and museum directors selected Salcedo, a [Colombian] sculptor and installation artist whose politically charged work, in her words, aims to ‘connect worlds that normally are unconnected, like art and politics.'”
The project, called Field of Vision, “sees independent documentarians around the world investigating concerns close to Poitras’s own practice: surveillance as well as political boundaries, hidden social conflicts, and the layers of urban space. … Field of Vision will produce about 50 short-form or episodic nonfiction films a year. Its first season debuted online September 29.”
“Hundreds of scholarly books and articles have been written about Buffy‘s deeper themes, and an entire academic journal and conference series – appropriately called Slayage – is devoted to using the show and other [Joss] Whedon works to discuss subjects such as philosophy and cultural theory.”
“Under the protocols outlined by the Association of Art Museum Directors, owners whose works are endangered because of terrorism, violent conflict or natural disasters could request that the items be held by a member museum until conditions improved enough for their safe return. Once transferred, these works would be treated as loans, an arrangement that would assuage those concerns that the pieces would never be repatriated.”
The Journal‘s Speakeasy blog looks at the six contenders currently topping Ladbrokes’s list, five of whom have been mentioned for years and one – the current leader, as it happens – whose name will be unfamiliar to many of us.
Says Washington Ballet artistic director Septime Webre, “It’s really taken some time for directors to feel comfortable talking about this subject, but now the topic is out in the ether. Misty is a big part of that. And people aren’t just talking now, they’re really trying to find ways to do something about it.”
“Feeling that critics and the public had long ignored work into which she had poured her heart and soul, De Mille found herself dispirited by the sense that something she considered ‘only fairly good'” – her choreography for Oklahoma! – “was suddenly hailed as a ‘flamboyant success.’ Shortly after the premiere, she met Graham ‘in a Schrafft’s restaurant over a soda’ for a conversation that put into perspective her gnawing grievance and offered what De Mille considered the greatest thing ever said to her.”
“There has been ongoing debate at the company about what to do about the limit, a feature unique to Twitter that has created its own lingo and quirky style of brevity but has had its obvious constraints. Users have come up with workarounds to the character limitation by attaching screenshots of longer text or by linking tweets together in a so-called ‘tweetstorm.'”
“Twitter’s character limit is more than a pragmatic concern – it’s an aesthetic and cultural one, too, and it defines the tone and nature of the platform itself. Twitter is a thing constantly in motion, and changing the nature of the tweet will correspondingly change the nature of the tweetstream for the worse.”
“For more than three years, Jarosinski’s followers (currently numbering over 117,000) have enjoyed his steady stream of extremely witty tweets. Sometimes light and playful, sometimes tortured or paradoxical, each is accompanied by his avatar, a cartoon drawing of what appears to be Theodor W. Adorno sporting a monocle.”
“Nothing in the world is more exciting than a moment of sudden discovery or invention, and many more people are capable of experiencing such moments than is sometimes thought.”
“While it’s hard to know exactly how many artists have left San Francisco in the last several years, there’s a consensus that the city is facing an emergency. In September, the arts commission released the results of its first ‘artist eviction survey’” Of nearly 600 local artists, 70% had been or were being displaced from their studio space, their home, or both.”
Robert De Niro and Zaha Hadid are just the most recent examples of high-profile artists to angrily end a session when (rightly or wrongly) they don’t like the drift of the questions. Observer writer Barbara Ellen and Channel Four presenter Krishnan Guru-Murthy discuss the question (their answer won’t be a surprise) and their own experiences with walkouts.
Known for his slimmed-down productions of Sweeney Todd and Company in which the actors doubled as instrumentalists, Doyle will become artistic director of Classic Stage Company next July.
For Craig Mod, it isn’t just the tactility of print books that matters (though he loves that quality): “The pile of unread books we have on our bedside tables is often referred to as a graveyard of good intentions. The list of unread books on our Kindles is more of a black hole of fleeting intentions.”
Music theory for a new century
So now – continuing about changes in the conservatory curriculum – some thoughts about how to teach music history and theory. And remember that I’m offering free consulting sessions to anyone who’d like to … read more
AJBlog: Sandow Published 2015-10-01
My kind of person
Apropos of this really embarrassing piece, my kind of person …
• … prefers hot dogs to hamburgers.
• … prefers trains to planes – in theory.
• … likes Johnny Mercer best:
• … likes Carolyn Leigh second best: … read more
AJBlog: About Last Night Published 2015-10-01
So you want to see a show?
Here’s my list of recommended Broadway, off-Broadway, and out-of-town shows, updated weekly. In all cases, I gave these shows favorable reviews (if sometimes qualifiedly so) in The Wall Street Journal when they opened. … read more
AJBlog: About Last Night Published 2015-10-01
The Pope, the music and the evacuation
A pope without music is like a ship without a flag. It’s part of the papal aura – but, unlike incense, it doesn’t send your sinuses into spasms. At the Festival of Families Saturday night … read more
AJBlog: Condemned to Music Published 2015-09-30
The rapid demise of Gotham was stunning — the operatic equivalent of the sudden death of an outwardly healthy person. The troupe had seemed to offer a new model for opera in the 21st century: It gave critically acclaimed performances of small-scale works, often sharing the costs with other presenters, in locales as varied as the Hayden Planetarium, a louche downtown nightclub and the Arms and Armor Court at the Metropolitan Museum of Art.