“Speak to writers, producers, actors and executives — speak, in fact, to the whole chain of employees toiling across the film, television and music industries, as THR did — and you’ll have trouble finding people who won’t admit to heightened feelings of stress, anxiety and depression, three interlinked mental-health issues that have escalated over the past decade in the entertainment sector. … The current industry turbulence has set alarm bells ringing louder than at any time since the Great Recession.”
Data will solve the basic conundrum: how is it that the roughly 1,400 grams of grey mush inside our skulls can produce our hopes, fears and dreams – as well as allowing us to revisit the very specific redness of a particular apple, one perhaps seen many years since?
The poll of 600 drama, music and dance students found that more than half (51%) had experienced inappropriate behaviour, sexual harassment or bullying. Nearly two thirds (73%) of those who experienced some sort of incident identified as female.
The movement sees itself as an alliance that defies established political categories in order to defend these ideas against the creeping influence of thought control. This leads us to another important meaning of the term intellectual dark web, the suggestion that its ideas are not only controversial, but particularly innovative in our political moment. If the dark web arouses the anger of certain commentators in the media or the academy, it is for the same reasons that new technologies in the internet age are “disruptive.”
Films and filmmakers mythologize coming-of-age stories in all kinds of ways, ways that focus on the magic of whatever change or reference point young adults make their way into the adult world. But middle school isn’t like that. “It’s incredibly difficult to mythologize, or at least to do so with any kind of light. It’s far too awkward and irredeemable a time.”
“Prizes, at least the biggest ones, help sell books. Many of them were created for just that purpose and the prize-givers are not shy about saying so, and why should they be? What’s the point of publishing great books if you can’t find an audience for them? Authors and editors all hope that a nomination or a prize will draw attention to work they’ve already committed enormous amounts of time and energy to bringing into print. Still, the contrast between the language of literary merit and that of cool business calculation can be jarring.”
Jacques d’Amboise told the story – with mime – at an opening gala for this summer’s Dance on Camera festival at Lincoln Center, and filmmaker Maia Wechsler recorded it for the rest of us. (video)
Jenny Giering: “In a theological work, Scivias, she described an experience strikingly similar to my own: ‘When I was 42 years and 7 months old, Heaven was opened and a fiery light of exceeding brilliance came and permeated my whole brain, and inflamed my whole heart and my whole breast.’ Hildegard is best known, though, for her music — a powerful body of mystical religious chants that are listened to more widely today than the music of any other single composer of her time. I want to talk to her.”
“Lee’s work is about wrongness: about being the wrong kind of man, woman, Asian; about saying the wrong thing; about getting other people wrong. Her characters are ill at ease in their bodies and in the world and, sometimes, in the very play they’re starring in. … With each production, she begins by asking herself, ‘What’s the last play in the world you would ever want to write?’ Then she casts actors and builds a play for them and with them, incorporating their feedback.”
These shows are important – but we can’t be uncritical of them. When an all-new Broadway version of West Side Story was recently announced that Ivo van Hove will direct with new choreography by Anne Teresa De Keersmaeker, its lyricist Stephen Sondheim said: “What keeps theatre alive over time is reinterpretation, and when that reinterpretation is as invigorating as [Ivo van Hove’s] productions of A View from the Bridge and The Crucible, it makes for something to look forward to with excitement.”
“King’s enjoyed numerous renaissances since Carrie put him on the map in 1973 — the era following Brian De Palma’s 1976 film adaptation; the early ’90s one-two punch of Misery‘s Oscar win and Tommy Lee Wallace’s It miniseries; the two-year spell at the turn of the millennium when he dropped the final three Dark Tower books. This one, however, is markedly different than those that came before, due not only to its scale and scope, but also because it’s unfolding in a generation that’s succeeded at both commodifying and intellectualizing nostalgia.”
“The streaming giant has announced a partnership with SiriusXM that will see it create and launch a comedy-focused satellite radio channel, a move that signals the company’s interest in extending its programming foothold beyond its online video roots.” The channel’s name: Netflix Is a Joke.
“Russian theater and film director Kirill Serebrennikov called the embezzlement allegations against him and his colleagues ‘absurd’ as a Moscow court ordered him to remain under house arrest until August 22.” This is the fourth time his pretrial detention has been extended. “Initially treated as a witness in an investigation targeting Moscow’s Gogol Center theater, Serebrennikov was charged in August 2017 with organizing the embezzlement of 68 million rubles ($1.1 million) in state funds.”
The anonymous activists sent themselves zero Ether on the platform and embedded the text of Yue’s open letter in the transaction’s metadata. Transactions on blockchain are irreversible, so the information cannot be altered. Furthermore, transactions generate distributed copies of themselves within the network, which ensured that Yue’s letter would be permanently documented in the public domain and accessible to any user who looked the transaction up.
Any new music or new message has problems with reception. Bach, Mozart, and Beethoven all had problems with reception. Even Jesus had problems with reception in his own hometown. Women in particular, though, have problems with reception in music. Lucy Green, music education philosopher and author of Music, Gender, Education, posits that there is a spectrum for acceptance of women in music. A woman singer is accepted because using her body to make music is an extension of her femininity. Put an instrument in her hands or in front of her face, and it interrupts the impression of a woman as either “sexually available or maternally occupied.”
Jarrod Haar, a human resources professor at Auckland University of Technology, said employees reported a 24 percent improvement in work-life balance, and came back to work energized after their days off. “Supervisors said staff were more creative, their attendance was better, they were on time, and they didn’t leave early or take long breaks,” Mr. Haar said. “Their actual job performance didn’t change when doing it over four days instead of five.”
The premise of director Boots Riley’s movie is the largely unearned success that the black characters gain when they use a “white voice.” And, as Danny Glover’s character tells his young telemarketing colleague, “I’m not talking Will Smith–white. I’m talking about the real deal” — meaning with dubbed-in dialogue spoken by white actors sounding their absolute whitest. Hunter Harris reports on how Riley came up with and implemented the idea.
Average ticket prices in North America rose to $9.38 in the second quarter of 2018, according to the National Association of Theatre Owners. That number is a 22 cent uptick from 2018’s first quarter average of $9.16 and a 43 cent bump compared to the same period in 2017.
Here is some real-world data for dancers, choreographers, costumers, stage managers, costumers, etc. It’s not scientific. Dance Magazine asked readers to share what they earned (anonymously, of course) and more than 200 readers responded.
Using as examples the recent reunion – enthusiastically captured and craftily edited by CNN – of a Salvadoran refugee woman with the six-year-old daughter ICE separated from her as well as the cute-turned-creepy-turned-cruel viral tale known as #PlaneBae, Megan Garber considers “how easily the desire for a happy ending can insinuate itself on the facts of the matter. The possibility at play … is that the full story, and its attendant horrors, will get washed away in the easy rituals of false closure. It is that people will forget, because the logic of the happy ending has given them permission to be preoccupied.”
“I don’t want to fight any more. I’ve been fighting stupidity all my life. … The problem is that when you defend your dignity people say you have a bad character. If that’s true, though, everybody with any sort of character has a bad character.”
“Well, I love Apu. I love the character, and it makes me feel bad that it makes other people feel bad. But on the other hand, it’s tainted now — the conversation, there’s no nuance to the conversation now. It seems very, very clunky. … I think particularly right now, people feel so aggrieved and crazed and powerless that they’re picking the wrong battles.”
“You’d think the Paris Opéra Ballet would be in damage-control mode after a leaked dancers’ survey, in April, brought up worrying reports of harassment and mismanagement. But instead of addressing these issues internally, the French company is suing one of its own dancers in order to strip him of his union representative status and subsequently be free to fire him.”
“Mr. Beach won the 2001 Tony for best featured actor in a musical for “The Producers,” … in which he originated the role of the cross-dressing director Roger De Bris. He began his acceptance speech at the Tonys memorably. ‘Heil Mel!’ he shouted.” He received additional nominations for playing Albin in La Cage aux Folles (2004) and Lumière the candelabra in Beauty and the Beast (1994).
“A new and less intimidating entrance has helped the [Victoria and Albert Museum] achieve record visitor numbers, bucking a trend of sharp falls across the UK’s museums and galleries. The museum said more than 4.4 million people visited the V&A and its London satellites, Blythe House and the Museum of Childhood.”
The vote on Wednesday was 297-114. It was a boost to arts advocates, who argued that such funding was just a tiny fraction of the federal budget yet offered any array of benefits to local communities. Rep. Glenn Grothman (R-Wis.) proposed the funding cut via an amendment to a larger government funding bill, arguing that the purpose was to make a “small dent” in federal spending
It’s Masur’s efforts orchestrating peace that Google highlights in a doodle Wednesday celebrating the conductor’s 91st birthday. In 1989, when Leipzig was at the center of the pro-democracy movement that resulted in the fall of the Berlin Wall, Masur was part of a group that helped avert a confrontation between protesters and police that could have led to bloodshed.
While some have decried the decision, pointing out that Mary Anne Carter’s primary form of engagement with the arts is piloting the dance career of her young daughter, who attends a school for the arts and dances competitively, it makes a refreshing break from a pattern established by Trump’s early appointees, to choose department heads that appear actively opposed to the discipline their agency is intended to manage and protect — for example, installing Betsy DeVos as Secretary of Education, when her most significant achievement is the dismantling of Michigan’s public school system.