Theatre

Wallace Shawn Shows Just How Much Ibsen Changed Everything

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“I was listening this morning to a Norwegian doctor who’s been in Gaza and working in a hospital in Gaza, risking his neck and going through a kind of unimaginable hell. And I was thinking, well, he’s there because of Ibsen. He wouldn’t be there if that man had not influenced his society in such an extraordinary way.”

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John Hurt On Acting Beckett’s Krapp

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“I’ve always felt that Krapp is an autobiographical piece. You do feel, all the time, that it’s Sam saying, ‘There but for the grace of …’ For me it’s a kind of essay in aloneness – and an essay on self-deception, too, which Krapp is well aware of. He is like any addict. One side of him says ‘I shouldn’t do this’ and the other side says ‘But I’m going to – and what’s more you know I’m going to’.”

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In Defense Of The Jukebox Musical

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“Done well, jukebox musicals, which are by nature about popular music, can have great music and dramatic insight, too. I propose that we stop being embarrassed by them, and I hope that producers and librettists continue to make the genre better. Great pop music can be celebrated well and enjoyably.” Sarah Lawson explains how, with examples.

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Keeping Kabuki Populist – And Funny

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“Compared with some other forms of Japanese theatre – Noh, for example – Kabuki had humble beginnings. It was made by common people for common people. … Other forms of Japanese theatre, such as Noh and Bunraku, subsist on government funding. Kabuki lives on ticket sales.”

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How Theatre Is Finally Making A Borderless Future

Luis Alfaro: Playwright of Breakfast, Lunch and Dinner. Photo: Jenny Graham.

“This conference was what many of us in el movimiento have been waiting for: that moment when the next generation of amazing young artists, scholars, producers, and administrators are not only ready to step it up, but have also been trained through mentorship programs, internships, and good old theater jobs.”

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Should Playwrights Be Worried About Piracy If They Digitize Their New Plays?

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“Since theater is a live art form, to me there’s nothing about digitization that intrinsically makes piracy easier. Unlike the music and film industries, where digitization (and the attendant problem of piracy) has had a vast and industry shaking effect, I don’t anticipate the same thing for theater. As a friend once said, the worst piracy tool of the century is the photocopier.”

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Unfunded UK Theatres Warn They’ll Have To Close

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“We don’t want to close because we would be letting down whole communities and a new generation of young theatregoers in rural areas whose access to quality professional theatre is limited, but there is only so long that you can struggle on unfunded. Even though we have been hugely successful in our fundraising, this work cannot operate unsubsidised.”

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Edinburgh Fringe To Begin Cinemacasts

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“Productions from the Edinburgh fringe – including a one-man show from Steven Berkoff – are to be broadcast live to Odeon cinemas. The cinema chain has teamed up with online arts service Hibrow to bring live performances from the festival to [UK] cinemagoers in August.”

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Philadelphia Theatre Co. Hangs On And Hopes

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“Its finances are precarious, the mortgage is in foreclosure. Real estate agents are busily showing its home to potential buyers. A possible savior – Philadelphia’s Roberts family – might offer a helping hand, but not yet. As the Philadelphia Theatre Company hangs on by a thread, theater leaders say its loss would be a blow – artistically, and to the city.”

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OK, So What’s A LORT?

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Unless you’re a theatre junkie, you might not know that hiding behind the acronym is a nationwide organization of almost 75 theatres in all major cities (and many other cities) across the U.S. And oh hey? They pay their actors.

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