#theatre
Greek theatre of Aphrodisias: one of a series of inscriptions on the columns forming a portico and supporting the architrave on the stage.
The greek text, deep-cut, well-aligned and elegant, records a list of the names of the Muses:
[Κλι]ώ Ε̣ὐτέρπη Θαλία Μελπομένη Τερψιχόρη Ἐρατώ Πολυμνία Οὐρανία Καλλιόπη
Klio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Polymnia, Ourania, Kalliope
All the inscriptions are on the stage side of the columns, and were presumably only visible to those using the stage.
Third to fifth century A.D.
©Inscriptions of Aphrodisias, (Aphrodisias, Aydın Province, Turkey)
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This is a short film I produced and filmed by Dominic Brouard, looking at the design of the upcoming National Theatre: 50 years on stage event.
Mark Thompson talks about his work as designer for the National Theatre’s once-in-a-lifetime performance ‘50 years on stage’ that will be broadcast live from the Olivier stage on BBC Two on Saturday 2 November at 9pm.
This once-in-a-lifetime performance features many of the most celebrated actors who have performed on our stages over the past five decades and is directed by Nicholas Hytner.
For more information: http://50.nationaltheatre.org.uk/on-s..
Here’s something I produced (filmed by Tim Marrinan and edited by Chloe White), a film celebrating Erich Kästner’s Emil and the Detective - the story, the characters, Berlin - and looks at the upcoming National Theatre production featuring interviews with Sally Gardner, Gillian Lathey, Carl Miller, Philip Pulman and Michael Rosen.
As part of our 50th anniversary celebrations - key NT actors, writers and directors answer the same ten questions about the National in a series of special National Histories Platforms.
First up, Nancy Carroll and Alex Jennings reflect on the National’s history and talk about their favourite NT performances, what productions they wish they had seen and their unsung heroes.
Simon McBurney and Judith Dimant reflect on 30 years of Complicite with Louise Jeffreys (Director of Arts, Barbican). This is a recording of a live Platform event.
For more information on upcoming Platform events, including the special 50th anniversary Platform series click here.
For recordings of past Platform events click here.
people who use tiktok are like “I hate theatre kids.” meanwhile their favorite sound on that app is from a musical
I like to explain to people that all the actors they love and admire and thirst over are literally just ascended “theatre kids” and watch their faces fall.
The whole reason adaptations of Romeo and Juliet don’t work is wrapped up in the first line of the show.”
“Two houses, both alike in dignity –”
That’s it. That’s the entire point. The Montagues and the Capulets are both rich, noble families. They’re on equal footing with each other. Both are frivolous and careless in that specific manner that only the generationally wealthy can be. The show and its message only work if both parties are equally rich and careless. If you try to translate it into any other context (Juliet is an heiress and Romeo is a punk, etc) you may have a good story, but you lose the entire point that Romeo and Juliet hinges upon. You may have a perfectly good story in its own right, but that story is no longer Romeo and Juliet.
The buildings are old and need constant repairs, so something is always under construction. Despite this, you have never seen anyone working on the roped off parts of the buildings. They simply shut down for a month and then re-open, fixed. Odd.
The movement teacher won’t stop talking about “The Work.” There is no clear definition, but it involves The Self and also The Body.
No one sleeps. At all. Not the professors, not the students, not the administrative team, and definitely not the resident company members. Your chances of passing someone in the hall are the same at 4 AM as they are at 2 PM.
Someone says the word “Macbeth” and the room goes dead quiet. The whole floor goes dead quiet. You don’t hear a word spoken in the whole building for the rest of the day. The offender isn’t in class the next day, or the day after that. Eventually, you forget their name.
During midterm week, you dream fitfully about “The Work.” You wake up in a cold sweat, almost certain that you’ll figure out what it is next time.
Your movement final is to “encounter yourself.” You don’t know what this means, but now you keep catching glimpses of yourself in crowds of people. The date of your final draws nearer. You don’t know what you’re going to turn in. Your reflection in the mirror has started lagging a bit. You get the feeling you will be encountering yourself very soon.
“The Work,” says a man on the subway. You clench your hands in your pockets. You have to stay on alert.
The alumni list is long and lofty. The teachers refer to it constantly. “This could be you, right?” You run into one of the alumni on your way downtown. Their eyes are empty. They will not look at you.
You sit down to watch a company show. You come to an hour and a half later during the bows, program still in hand. Everyone else agrees it was a brilliant show. You are not sure what happened to you during it. You may never be sure.
Hello! “Tumblr Wrapped” or whatever that was made me realize that I barely post on here anymore. I think it’s because now that theatre is my full-time job, I want to take a break from it when I get home at the end of a long day. I’m still just as excited as ever about the arts and would love to keep posting, I think I’m just going to have to come at it from a different angle.
If you’re still following me, thanks for sticking with me! I was only 16 when I started this blog and I’ve grown up a lot since then. Here’s to wonderful things in all of our futures. <3
what movie do y’all know front to back like it doesn’t even have to necessarily be Good,, it’s just something you’ve seen so many times that the dialogue is printed into the very core of your being
I’m a professional actor and also very gay so what I’m saying is that it’s Rocky Horror Picture Show
One of my dearest held principles that I share with as many actors as possible is actually quite simple: read poetry. This is even more applicable if you’re also a playwright, writer, director, or composer. The overlap between theatre and poetry is huge, and not just with the classics. Music and poetry are inextricably linked. Reading poetry, both casually and out loud, can really help you grow as an actor and give you the skills to better understand text and subtext when it’s presented to you. Below are some of my very favorite poems for actors. Enjoy.
Megan Married Herself– Caroline Bird
Snow and Dirty Rain– Richard Siken
Ode to the Women on Long Island– Olivia Gatwood
The Kindest Thing She Almost Did – Blythe Baird
May We Raise Children Who Love the Unloved Things– Nicolette Sowder
Preface to a Twenty Volume Suicide Note–Amiri Baraka
Good Bones – Maggie Smith
14 Lines From Love Letters or Suicide Notes– Doc Luben
I have more, but these are some favorites.
If you’re a dramatic (gay) arts person and the pandemic has ruined your potential for cinematic angst, consider doing what I’ve been doing since I was 16 and edgy and looking at The Unsent Project.
We were intrigued by this play rendered in phonetics (“eminently suitable for foreign students of English” according to the introduction). And we were amused by the contrast between the standard English used in the stage directions and the phonetically-rendered dialogue, especially in the highlighted couplet.
From: The Mollusc: A Comedy In Three Acts (1929)
#mollusc #theatre #theater #phonetics #drama #playscript #books #library (at Harvard Yard)
https://www.instagram.com/p/B7ZD4eyn7-t/?igshid=mnpbe3ujyfsb
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