Playwright Branden Jacobs-Jenkins: “There’s a thing where just because you’re an arts journalist, you’re automatically assumed to be quote ‘woke’. But that’s actually part of what this moment is about, it’s about not being so complacent with your own perceived tolerance.”
The idea of forming some kind of “literary translators’ agency”—which would perform a similar role to an author’s agency—is one that translators have been mulling over for years. After all, such agencies exist for most other creative professions, such as illustrators, actors, musicians, and designers. But it’s a rather tough nut to crack for literary translators, mainly because there simply isn’t enough money in literary translation to make such a venture financially sustainable.
In a War Paint backstage interview in which she talks about plenty else as well, the Broadway diva tells Jackson McHenry, “I don’t know how long my voice will last. By the time another one comes along I may not have a voice. I don’t want to have be character woman and be put in a box [on the side of a poster]. I can’t be a leading lady forever, so why not go out in a blaze of glory as Helena Rubinstein?”
Created by Welsh National Opera, the project will allow visitors to step inside the worlds of The Magic Flute and Madam Butterfly, including performances from WNO productions. Called Magic Butterfly, the production will combine motion capture, animation and music to create an “immersive experience using responsive animation and sound”. WNO claims this is the first time an opera company has used VR in this way.
“The shift to new home options for these ‘clean’ versions aligns with the public movement away from traditional broadcast venues towards on-demand or streaming services. Simply waiting for scrubbed content to arrive on television is not only inconvenient from the audience’s new get-it-now standpoint, but allows studios including Sony a new vector for improved profitability. While the streaming revolution has, for the most part, been a knife in the heart of network television, it could prove a long-run boom for the studios who, in some cases, manage better distribution deals through these new services.”
Dawson City, in the Yukon Territory, wound up being the end of the line in an early film distribution network, and distributors thought shipping the prints back from there was too expensive to bother with – so an enormous body of films piled up there. Filmmaker Bill Morrison made an avant-garde documentary (?!) about it all.
Amelia Gray: “Isadora spent her whole life straddling the gap between public perception and private reality. In writing Isadora, a novel set during a particularly dark year and a half of her life, I found myself having to pick through that reality, reality as Isadora wished to create it, and a third, emotional reality, which aspired to contain recognizable truths.”
“The artist, who found global fame with his pop-up street art, [had] offered prints of his famous ‘girl with balloon’ for those who voted against Prime Minister Theresa May’s Conservative party in six constituencies near his Bristol home.” His reason for cancelling the offer is a good one, though.
“Without provocation, the supervisor for the Chicago-based carrier then lunged for Ms. Correia’s case and, incredibly, tried to wrestle it away from the musician,” said a statement written by MacNaughton. “I start screaming, ‘Help, help, help, can somebody record what’s happening because this lady’s trying to take my personal suitcase from me,’” Correia told Houston NBC-affiliate KPRC.
“The computer learns by having another algorithm—a teacher—progressively introduce constraints—here are different available instruments, these are chords, this what it means to sing in soprano. In essence, the algorithm is replicating Bach’s creativity based, not evolving its own creative genius. As such, AI algorithms are best suited to be creative collaborators.”
The relationship with Hong Kong Ballet, a company of about 50 dancers, grew out of a planned tour to the territory with the Washington Ballet about three years ago, Septime Webre said. The tour fell through, but later on the agent for the trip alerted Webre to the company’s search for a director. Webre will replace Madeleine Onne, director since 2009.
Jason Zinoman: “It’s particularly amazing that this gifted dissembler has received such goodwill at a time when there is such anxiety about fake news and Internet disinformation. … That Evan Hansen is not just a kind of hero but one whose story will stay with a generation of young theatergoers forever is testament to the power of skillfully crafted art to reframe, manipulate, and even obscure moral concerns.”
Riverside Art Museum
In conversations with staff members of the Riverside Art Museum, I learned that their initial work in fostering relationships with Riverside’s Latino communities had resulted in donations to purchase art. But the “hot off the press” revelation came … read more
AJBlog: Engaging Matters Published 2017-06-06
Lost and Found
Long ago, I heard a lovely definition of creativity: “Finding what has been lost and making it new.” I’ve never been able to track down the source of that definition, but it’s stuck with me. … read more
AJBlog: Infinite Curves Published 2017-06-06
Diller Thriller: MoMA’s Mega-Makover, An Irreverent Photo Essay
Having been briefed by another journalist about the current status of the project, we finally got to learn about this work-in-progress from the principals themselves: … read more
AJBlog: CultureGrrl Published 2017-06-06
Pianist Vijay Iyer and the Ojai Music Festival
This year sees an unlikely but, I suspect, fortuitous paring: Pianist Vijay Iyer — one of the most inventive figures in jazz today — is curating the Ojai Music Festival, a friendly, mellow outdoor … read more
AJBlog: CultureCrash Published 2017-06-06
“Democracy cannot function when every citizen is an expert. Yes, it is unbridled ego for experts to believe they can run a democracy while ignoring its voters; it is also, however, ignorant narcissism for laypeople to believe that they can maintain a large and advanced nation without listening to the voices of those more educated and experienced than themselves.”
The outgoing director of the Tate, Nicholas Serota, the director of the British Museum, Hartwig Fischer, and the new director of the V&A, Tristram Hunt, a former Labour Party shadow minister, are all concerned that these institutions will find it harder to retain and recruit expert staff from across Europe, potentially damaging their world-class status.