Aid from the Padre June 4, 1962 by Hector Rondón Lovera. Priest and Navy chaplain, Luis Padilla, gives last rites to dying soldiers fatally wounded during a government revolt in Venezuela against President Betancourt in June 1962. More than 200 were killed before rebels were beaten. Venezuelan photographer Héctor Rondón Lovera covered the many compelling scenes during the short-lived conflict “I found myself in solid lead for forty-five minutes… I was flattened against the wall while bullets were flying, when the priest appeared. The truth is, I don’t know how I took those pictures, lying on the ground.” The photograph, won a Pulitzer prize in 1963.
Jean Sibelius – Finlandia, Op. 26
Edited from
Wikipedia
Finlandia, Op.
26, is a tone poem by the Finnish composer Jean Sibelius.
It was written in
1899 and revised in 1900.
The piece was
composed for the Press Celebrations of 1899, a covert protest against
increasing censorship from the Russian Empire, and was the last of seven pieces
performed as an accompaniment to a tableau depicting episodes from Finnish
history.
A typical
performance takes between 7½ and 9 minutes depending on how it is performed.
Most of the
piece is taken up with rousing and turbulent music, evoking the national
struggle of the Finnish people. Towards the end, a calm comes over the
orchestra, and the serene and melodic Finlandia Hymn is heard. Often
incorrectly cited as a traditional folk melody, the Hymn section is of
Sibelius' own creation.
Sibelius later
reworked the Finlandia Hymn into a stand-alone piece. This hymn, with words
written in 1941 by Veikko Antero Koskenniemi, is one of the most important
national songs of Finland. Today, during modern performances of the full-length
Finlandia, a choir is sometimes involved, singing the Finnish lyrics with the
hymn section.
Alexandra Danilova: beauty grace and discipline
Aleksandra Dionisyevna Danilova was a Russian prima ballerina who became an American citizen.
Manners by Elizabeth Bishop
For a Child of 1918
My grandfather said to me
as we sat on the wagon seat,
"Be sure to remember to
always
speak to everyone you meet."
We met a stranger on foot.
My grandfather's whip tapped his
hat.
"Good day, sir. Good day. A
fine day."
And I said it and bowed where I
sat.
Then we overtook a boy we knew
with his big pet crow on his
shoulder.
"Always offer everyone a
ride;
don't forget that when you get
older,"
my grandfather said. So Willy
climbed up with us, but the crow
gave a "Caw!" and flew
off. I was worried.
How would he know where to go?
But he flew a little way at a
time
from fence post to fence post,
ahead;
and when Willy whistled he
answered.
"A fine bird," my
grandfather said,
"and he's well brought up.
See, he answers
nicely when he's spoken to.
Man or beast, that's good
manners.
Be sure that you both always
do."
When automobiles went by,
the dust hid the people's faces,
but we shouted "Good day!
Good day!
Fine day!" at the top of our
voices.
When we came to Hustler Hill,
he said that the mare was tired,
so we all got down and walked,
as our good manners required.
I can't get enough of this stuff
Atlas to guard the Temple of Zeus
in Sicily again
AGRIGENTO, Italy – The Valley of
the Temples archaeological park in Agrigento, Sicily, announced that the statue
of Atlas will rise again at the Temple of Zeus.
“The re-installment of the statue
of Atlas is the culmination of a more comprehensive restoration,” says Roberto
Sciarratta, director of the Valley of the Temples archaeological park.
Sciarratta added that “it is an extraordinary project, which belongs to the
world but which was born here in the Valley of the Temples.”
The Valley of the Temples is located
on Sicily’s southern coast in the area the Romans called Magna Graecia, or
“Greater Greece,” a region that ran from the western tip of Sicily to
modern-day Apulia at the “heel of the boot” formed by the Italian peninsula.
Settlers brought Hellenic civilization to the region around 800 years BCE. The
local Italic peoples became Hellenised and adopted Greek culture. Greek is
still spoken in parts of Italy because of the Hellenic diaspora.
The Valley of the Temples is the
result of massive efforts by the 100,000 or so local inhabitants, whom Plato
would describe as building like they would live forever and partying like it
was their last day. The building in the Valley – which might be better referred
to as a ridge – represents some of the best-preserved examples of art and
architecture surviving from Magna Graecia, despite ancient attacks by Carthage.
The archeological site was
re-discovered in the 19th century, and it remains a site of excavation and study.
The Valley contains seven temples
with Doric columns, including temples to Asclepius, Castor and Pollux,
Concordia, Heracles, Hephaestus, and Juno Lacinia, along with the Temple of
Olympian Zeus. There were also temples of Demeter and Athena, as well as
chthonic gods.
The Temple of Concordia is the best
preserved of the temples, likely because it was converted to a church around
600 CE. The site was not only ravaged by ancient wars but also exploited as a
source of brick and stone for building early parts of the surrounding city and
a nearby Roman marina, now the harbor at modern Porto Empedocle about three
miles southwest of Agrigento. During the Roman period, Agrigento was called
Girgenti, and prior to that, Akragas.
The Temple of Olympian Zeus is the
largest of the set and was never completed. It was likely founded to
memorialize the Battle of Himera in 460 BCE, when the cities of Akragas and Syracuse defeated the
Carthaginians.
Architecturally different than
the other temples, the Temple of Olympian Zeus – regrettably, now mostly rubble
along the Olympieion field – was the largest in the complex, being about 570
feet (112 meters) by 184 feet (56 meters) in size. It did not have freestanding
Doric columns. Instead, because of the size and weight of the bands over the
columns, continuous stone curtains were used to support the weight. The columns
were immense, as high as 63 feet (19 meters) tall.
While the temple is still being
excavated, there appears to have been a succession of gates at the temple site,
as well as at the main sanctuary and a series of smaller sanctuaries to various
other gods. There appears to have been a paved sacellum, the holy enclosure, as
well as a tholos, a central rounded structure built upon steps that might serve
as a central stage.
Giant Atlases supported the
weight of the curtain columns from the exterior. They were sculpted in the form
of a man and were used in-between columns to help reinforce the temple
structure. The Atlases appear to have appear to have been recessed along the
temple curtains’ edges. The Atlases alternated between bearded and
clean-shaven, all nude with their arms outstretched above their heads forming
the support. The statues bear the name of Titan who holds up the sky.
The Atlases have seen damage from
both weather and human attack over the centuries, and they have not survived in
complete form. One of the Atlases will soon be reconstructed and placed at the
entrance of the temple park during the coming year.
Sciaretta said that it has taken
some ten years to get to the point that the Atlas can be displayed again. “In
the last decade, we’ve recovered and cataloged numerous artifacts that were
once a part of the original structure,” he said. “The goal is to recompose
piece-by-piece the trabeation [post and lintels] of the Temple of Zeus to
restore a portion of its original grandeur.”
Sciaretta said, “The idea is to
reposition one of these Atlases in front of the temple, so that it may serve as
a guardian of the structure dedicated to the Father of the Gods.”
Interesting
The Latin verb relinquere,
meaning "to leave behind," left behind a few English derivatives,
including derelict. Another descendant of relinquere is relinquish so is the
word Relic. Relics , in the original sense of the term, referred to things
treasured for their association with a saint or martyr—that is, objects saints
and martyrs had left behind.
The real Winnie the Pooh and Christopher Robin, (1927).
How Winnie-the-Pooh Became a
Household Name
The true story behind the new
movie, “Goodbye Christopher Robin”
By Patrick Sauer
SMITHSONIANMAG.COM
NOVEMBER 6, 2017
In the main branch of the New
York Public Library, there lives a group of wild animals that call the
children’s section home. Together, in one cage, are a young pig, a donkey, a
tiger, a kangaroo, and a bear known the world over as Winnie-the-Pooh. The bear
is not the red-shirted “tubby little cubby all stuffed with fluff” found in
cribs around the world, more a regular ole’ fuzzy variety, a simple
knock-around bear. But he’s still Pooh, a bit matted down, a bit overly loved,
but in great shape considering he’ll soon be 100 years old. The original Pooh
is amazingly still alive, well into the 21st-century, in both literary and
animated forms.
The NYPL’s Winnie-the-Pooh was
the real-life inspiration for the original A.A. Milne stories, which continue
to co-exist alongside the better-known Disney juggernaut. The characters from
1928’s smash bestseller The House on Pooh Corner live side-by-side with the
cartoon iterations in a way very few originals and their Disney-fied versions
do. Consider poor Hans Christian Andersen’s “The Snow Queen,” which most kids
only know via the $400-million box office adaptation, Frozen, or, for that
matter, Andersen’s “The Little Mermaid.” What’s amazing about Pooh’s modern
cartoon-y familiarity is that as big as the Magic Kingdom is, the original not
only survives, but thrives as a continued source of fascination.
“If you write a very good book,
and someone makes a very good film about it, the book just disappears. Nobody
really reads Mary Poppins or Pinocchio because the films are so accomplished
they’ve supplanted the source,” says Frank Cottrell-Boyce, co-screenwriter of
Goodbye Christopher Robin, the new movie about the
story-behind-the-Milne-stories.
The sweet, oft-befuddled bear
actually evolved out of Milne’s decidedly unquiet time on the Western Front
during World War I. He was injured at the First Battle of Somme in 1916, and
his time in the trenches left Milne with “shellshock” (what we now call PTSD).
Following the war, he uprooted his family, moving from London to the quieter
country retreat of Crotchford Farm. Milne and his only child, Christopher
Robin, who went by the nickname “Billy Moon,” spent countless hours exploring
the woodlands of the Ashdown Forest, often accompanied by his son’s stuffed
animal collection. Prior to World War I, Milne was a successful essayist,
humorist, and editor at Punch, and following the war, he was a successful
playwright, with works like Mr. Pim Passes By (adapted as a silent picture in
1921.) It was the time spent with Billy Moon, and his wild imagination, though,
that made Milne world-famous.
Fatherhood inspired Milne’s first
foray into children’s literature through poetry. Published in Vanity Fair in
1923, “Vespers” includes the line “Christopher Robin is saying his prayers.” He
followed that up in Punch with the poem “Teddy Bear,” which mentions a “Mr.
Edward Bear,” soon re-named by Christopher Robin after a visit to the London
Zoo, where a black bear rescued from Winnipeg—“Winnie,” of course—made its
home. And in Milne’s popular 1924 poetry book When We Were Very Young, the
author tells of his son explaining how he would feed a swan in the morning, but
if the bird wouldn’t come, the boy would say “‘Pooh!’ to show how little you
wanted him.’”
Thus on Christmas Eve, 1925, in
the London Evening News, A.A. Milne’s short story “The Wrong Sort of Bees” gave
readers the holiday gift of Winnie-the-Pooh, the newly renamed bear who is
dragged down the stairs by Christopher Robin, bumping his head all the way.
Christopher Robin asks his father to make up a tale about Pooh and the yarn he
spins established the Pooh the world knows and loves today. The hungry hero
comes up with a plan to steal honey from some tree-dwelling bees. He rolls
around in mud to disguise himself as a raincloud, then floats up to the hive
with a blue balloon, making up songs to pass the time. Pooh failed to acquire
honey, but the silly slow-witted but oh-so-lovable character succeeded in
becoming a sensation.
All of Milne’s children’s works,
starting with “Vespers” were accompanied by Ernest H. Shepard’s elegant
monochromatic pencil illustrations. The prose and drawings of the Hundred Acre
Wood animals, and their young human friend, were a perfect match, capturing the
wide-eyed innocence and thrills of childhood, but with an underlying bit of
melancholy and sadness. The working relationship between combat veterans Milne
and Shepard deepened over time, and they truly developed the Winnie-the-Pooh
world together. A primary example is that while the stories were based on Billy
Moon’s real-life experiences, the famous early black-and-white drawings were
closer to the friendlier-looking plushie owned by Shepard’s son, a bear named
Growler.
The story collection
Winnie-the-Pooh was published in October 1926, introducing the characters to a
bigger global audience. It was a huge hit at home and abroad. The original
English version sold a whopping-for-the-time 32,000 copies, while in the United
States, 150,000 copies were nestled on nightstands by year’s end. The Harry
Potter-level success of the Pooh books would be both a blessing both and a
curse for Billy Moon. Still a young boy, he was dwarfed by his fictional
“Christopher Robin” counterpart.
“Christopher Robin is actually on
record that he quite liked being famous as a child, the damage and resentment
came later,” says Ann Thwaite, whose 1990 biography of A.A. Milne won the
prestigious Whitbread Award and serves as a primary source for the film. She
has a new adaption, Goodbye, Christopher Robin, out now. “But Milne was always
extremely interested in his son, even though the boy was mainly looked after by
his nanny Olive Rand, whom Christopher was devoted to.”
The books provided Billy Moon
everything a boy could ever want, but also deprived him of the simpler
anonymous childhood he’d known. He missed the ample time he and his father had
spent exploring the woods, which of course, led to the Pooh books in the first
place. The boy was thrust into the spotlight, making public appearances, doing
readings and audio recordings, and being photographed again and again for all
the fans wanting a piece of the real Christopher Robin. Milne seemed to grasp
his role in exploiting his son, later writing that he felt “amazement and
disgust” at his son’s fame.
The Pooh series ended after a
mere four books with The House at Pooh Corner, but Billy Moon's fame would come
back to haunt the family. In boarding school, the merciless bullying he
received drove him to prove his manhood by volunteering to fight following the
outbreak of WWII. Billy Moon failed a medical examination, but coerced his
famous father into using his influence to secure a military position. In 1942,
he was commissioned, serving with the Royal Engineers in Iraq, Tunisia, and
Italy. Billy Moon contacted malaria and took shrapnel to his head, a gut punch
to his father, who became a devoted pacifist following his military career.
Milne's son returned safely from
World War II and eventually made peace with his childhood celebrity and
fictional doppelgänger. He didn’t have
much of a choice, though—it wasn’t as if the characters were fading away. The
sales of Pooh books have been phenomenal for 90 years. They’ve never been
out-of-print and have sold some 20 million copies in 50 languages. A 1958 Latin
translation by Alexander Lenard, Winnie ill Pu, is the only book in Latin to
ever become a New York Times bestseller.
The original books, however, will
always have a special place in British literary lore. Published following the
brutality of World War I, they provided a much-needed solace in a time of great
sadness, a connection to the innate wonder of childhood, and a specifically
British sensibility.
“English World War I posters
featured the rural woodlands, domain of Robin Hood, because that’s what we were
fighting for. The woods are part of the software of the English psyche, and
Milne captures it better than anyone,” says Cottrell-Boyce. “Although, I’ve
also heard Russians think it’s about them because Pooh is a big sleeping bear,
what it says to me is the amazing stories and beautiful sentences are
universal.”
Over the last near-century, those
four slim Winnie-the-Pooh volumes sprouted a massive honey pot of cash. But the
billions of dollars in annual receipts brought in by Pooh merchandise, ranking
him with royalty like princesses, superheroes, and Mickey Mouse, isn't
something Disney can take all the credit for.
In 1930, a producer named Stephen
Slesinger took Pooh off the page and into the burgeoning arena of pop culture
mass marketing. The American and Canadian licenses to Pooh were secured from
Milne by Slesinger for $1,000 and later, 66 percent of broadcast royalties.
Slesinger was a pioneer in
licensing and merchandizing characters, bringing color to the Hundred Acre
Wood—most notably in 1932, on an RCA Victor record, where Pooh’s typically
uncovered belly now featured a red shirt—and taking the characters beyond
dolls, to jigsaw puzzles, radio shows, a “Colorful Game” from Parker Brothers,
and later, this nightmare-inducing puppet version on the Shirley Temple Show.
Slesinger was a bridge between the English page and the American marketplace,
helping further cement the whole Hundred Acre Wood gang—Piglet, Eyeore, Kanga,
Owl, Tigger, and so on—as kiddie icons available to bring into homes in all
kinds of formats.
Slesinger died in 1953, and his
wife continued developing the characters until deciding to license the rights
to Walt Disney Productions in 1961. Walt himself coveted Pooh thanks to his
daughters, who loved Milne’s stories. (Long after Disney passed away, there
were Slesinger Inc. royalty lawsuits based on unforeseen future technologies
like the VCR.) The Disney studios released its first animated Pooh short in
1966, and there have been a steady stream of movies, TV shows, video games, and
amusement park rides ever since. In 2006, Pooh Bear himself received a star on
the Hollywood Walk of Fame, but the glitz and glamour of the character’s
post-Milne age hasn’t lessened the love of the original works. The books have
flourished right alongside their Disney counterparts, and still offer surprises
to 21st-century readers.
“I grew up with the books, Milne’s
words and Shepard’s illustrations are the fabric of British life, Disney’s Pooh
is not definitive,” says Simon Vaughn, a Brit as well as the other co-writer on
Goodbye Christopher Robin.
The heart of Goodbye Christopher
Robin is about what it means for a parent to raise a child under extraordinary
circumstances, but Cottrell-Bryce believes there is a simple basic human reason
why Milne and Shepard’s masterworks remain essential in everyday parental life,
even in the face of the Disney. In those
early cartoons, Winnie-the-Pooh was memorably voiced by Sterling Holloway, but
even his warm cuddly characterizations are no match for mom and dad.
“The Pooh books were written for
the nursery, to be read intimately to a little child,” says Cottrell-Bryce.
“The books offer a deep moment between child and parent at bedtime. It’s primal
and comes from love.”
As Milne wrote back in 1926, Sing
Ho! for the life of a Bear!
László Moholy-Nagy
László Moholy-Nagy (July 20, 1895
– November 24, 1946) was a Hungarian painter and photographer and educator, who
was relentlessly experimental in pioneering work in painting, drawing,
photography, collage, sculpture, film, theater, and writing. Throughout his
career, he became proficient and innovative in the fields of photography,
typography, sculpture, painting, printmaking, film-making, and industrial
design, however, his main focuses was photography; starting in 1922, he had
been initially guided by the technical expertise of his first wife and
collaborator Lucia Moholy.
He coined the term Neues Sehen
(New Vision) for his belief that the camera could create a whole new way of
seeing the outside world that the human eye could not. This theory encapsulated
his approach to his art and teaching.
Moholy-Nagy was the first
interwar artist to suggest the use of scientific equipment such as the
telescope, microscope, and radiography in the making of art. He experimented
with the photogram; the process of exposing light-sensitive paper with objects
laid upon it. His teaching practice covered a diverse range of media, including
painting, sculpture, photography, photomontage, and metalworking.
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
Spooky Action Theater New Works in Action
Send us your most impossible short play. Do you have a brilliant
idea for a play but you think can never be put onstage? We are looking to
present digitally streamed readings of plays that still fit in the magic
realism genre but include a certain epic or unbelievable element. Therefore, we
are calling Round 13 “THE IMPOSSIBLE PLAY CYCLE.”
***
Brave New World Repertory Theatre is seeking new play
submissions for Brave New Works: Ditmas Park 2021 Reading Series. This season,
we are building upon our 2019 Brave New Works theme of “Race in America” and
are specifically seeking plays that address police brutality. We are especially
looking to feature work from Black playwrights.
***
New World Theatre seeks monologues for publication
This is an open call to black writers to submit monologues that
reflect their personal experience of living while black. The selected works
will be published in an anthology entitled, 08:46.
*** FOR MORE INFORMATION about these and other opportunities see
the web site at https://www.nycplaywrights.org ***
*** THEATER LAWSUITS ***
Seventeen alumni served lawsuits, accusing Children’s Theatre of
abuse. Their cases reveal more than was publicly known about the company's
50-year history, as well as how many of its former tribe prefer to leave that
past untilled.
II. The Village Storyteller
In 1961, John Clark Donahue was 23 and an art teacher at Carl
Sandberg Middle School when he was convicted of molesting a 17-year-old boy.
Police suspected the teen was being traded in an underage pornography ring.
Donahue served three months in jail and went to work as a set designer for a
south Minneapolis children’s theater troupe called the Moppet Players.
More...
***
The biggest commercial theater presenters in San Francisco are
trying to block productions of “Harry Potter and the Cursed Child” and “Dear
Evan Hansen” from opening at a competing venue.
Nederlander of San Francisco, which operates that city’s Orpheum
and Golden Gate theaters, this week asked a judge to prevent an
ally-turned-rival, the producer Carole Shorenstein Hays, from staging the shows
at the nearby Curran Theater, which she owns and has lavishly restored and
ambitiously programmed.
The shows at stake are two of the hottest in contemporary theater
— critically acclaimed, commercially lucrative and attractive to adolescents
and young adults who rarely attend theater.
More...
***
It was a standing room-only crowd as supporters of Stephen
Buescher, the plaintiff in a discrimination lawsuit against his former employer
American Conservatory Theater (ACT), gathered Wednesday evening to discuss
racism in the theater world.
In a complaint filed a day prior, Buescher alleges that ACT,
where he held faculty and creative roles for ten years until 2018, created a
racially hostile environment and systematically discriminated against black
artists, staff and students.
The event in the 92-seat theater at Pianofight in San Francisco
was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an
hour, Buescher, current staff and students at American Conservatory Theater and
other theater figures passed a microphone to share their frustrations with
being typecast, tokenized and silenced as black artists.
It began with poems from Jerrie Johnson, one of several ACT
graduate students present, followed by Buescher. Choking up, he called his experience
at the company a “long, silent, lonely road” before saying that, in the wake of
the lawsuit, he’s heard from many theater figures with similar accounts. Most
of the following speakers said they now felt emboldened.
More...
***
Indiana Repertory Theatre closed its doors in March as part of a
wave of shutdowns to slow the spread of the coronavirus. "Murder on the
Orient Express" ended midrun. The widely anticipated "Paper Dreams of
Harry Chin" and "Sense and Sensibility" were canceled.
The loss of ticket sales, sponsors, concessions, theater rental
fees and other items added up to more than $1 million, managing director
Suzanne Sweeney said. So the theater filed a business interruption claim with
its insurer to recoup income loss due to the pandemic.
But The Cincinnati Casualty Co., the Ohio company that insures
the theater under a commercial property policy, denied the claim. Like other
businesses, performingarts organizations are finding that their definition of
direct physical "loss” and “damage” is different from what insurance
companies say.
More...
***
“This is one of the most extraordinary sites I’ve worked on.
After nearly five hundred years, the remains of the Red Lion playhouse, which
marked the dawn of Elizabethan theatre, may have finally been found,” said
Stephen White of Archaeology South-East, part of University College London’s
Institute of Archaeology, in a press statement. “The strength of the combined
evidence–archaeological remains of buildings, in the right location, of the
right period, seem to match up with characteristics of the playhouse recorded in
early documents. It is a privilege to be able to add to our understanding of
this exciting period of history.”
...The site unearthed by White and colleagues is modest in size
(just 40 feet by 31 feet) and closely mirrors descriptions of the venue, an open-roofed
wooden structure, mentioned in two late 16th-century lawsuits between Brayne
and the laborers hired to build the playhouse. The dimensions of the stage, in
fact, are an exact match.
In addition to the timber remains of the Red Lion, archaeologists
unearthed drinking vessels, coins, and fragments of what are believed to be
green-glazed glass boxes that were used to collect admission fares at Tudor-era
theaters.
More...
***
Lawsuits contend that three community theaters failed to stop a
technical director from sexually abusing aspiring teenage actors and a production
assistant.
The allegations prompted Little Theatre of Manchester, where
Daniel Checovetes was paid technical director, to cut ties with him on
Thursday.
Three young women, who were ages 14, 16 and 17 when the alleged
abuse occurred, accuse theater staff of failing to watch and supervise
Checovetes, giving him free reign to abuse minors working on shows and plays.
Checovetes is named as a defendant in the suits filed in Waterbury Superior
Court, along with Landmark Community Theatre, Inc. of Thomaston, Naugatuck Teen
Theater, LLC and Northwest Connecticut Association for the Arts and Warner
Theatre of Torrington.
More...
***
A Christian actress is suing her former agency and the theatre where
she had a starring role in the musical, The Colour Purple, before being let go
over Facebook comments expressing a biblical view of homosexuality.
On 14 March, Seyi Omooba was awarded the lead role of Celie in
Leicester Curve and Birmingham Hippodrome's co-production of the play, based on
Alice Walker's classic American novel.
A day after her casting was announced, she was tagged on Twitter
by Hamilton actor Aaron Lee Lambert with a screenshot of a Facebook post she
had written over four years ago on 18 September 2014 in which she said that she
did not believe people could be "born gay" and that Christians should
stand up for what they believe in.
More...
--
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