Monday, September 12, 2016

Worth a Look

Here are a few posts from last week's Greenpage that might be worth your time...

For its Next Act, Cirque Goes to China AFTER entertaining millions of people in dozens of countries over the years, China offers a new realm of possibilities for acrobatic dance troupe Cirque du Soleil.

During his visit to China earlier this month, Cirque du Soleil CEO Daniel Lamarre confirmed the entertainment company’s expansion plans in China. In April, Fosun, China’s leading investment group, joined American investment firm TPG to become one of Cirque du Soleil’s largest strategic partners in a deal that will facilitate its global business development.

Women to Watch

THE INTERVAL: Despite the dearth of women writing, directing, and designing on Broadway, there are a lot of fabulous women making theatre and changing the theatrical landscape beyond the Great White Way. We asked women who had been featured on The Interval, and those in the know in the theatre community, to recommend emerging female theatre artists who they’re excited by and who deserve more exposure and support. So here are 16 female writers, directors, designers, and producers who the theatre community should be watching

Scholar: Shakespeare Didn’t Coin Many of the Words Attributed to Him

Flavorwire: In addition to his insights and his memorable poetry, Shakespeare is widely credited with inventing many words and phrases that can’t be found further back in the historical record. But perhaps he’s been given too much credit as an originator of words and phrases. Dr. David McInnis, a Shakespeare lecturer at the University of Melbourne, says some of this fallacy is due to the Oxford English Dictionary’s early editors being “biased” towards Shakespeare, ignoring previous uses of certain phrases. Examples of phrases originally attributed to the Bard that can be found earlier include wild-goose chase and it’s Greek to me, according to McInnis’s research.

Missing Voices and Misogyny in Shakespeare Theatre Company’s All-Male Shrew

HowlRound: Perhaps the best place to preface a critique of Shakespeare Theatre Company’s all-male Taming of the Shrew is the end: Katherina (Kate) delivers her final speech with unflinching honesty, bemoaning that women “seek for rule, supremacy, and sway/ Whey they are bound to serve, love, and obey.” She implores Bianca and the Widow to join her, creating a silent, encapsulating snapshot: three women prostrate before their husbands, hands extended to be crushed beneath their companions’ feet. Regardless of the corseted actors’ gender identities, Shakespeare Theatre Company leaves audiences with a searing image of female submission to men—about as traditional an interpretation of Shakespeare’s play as one can find.

Feast your eyes on the 2016 incarnation of Burning Man

Las Vegas Review-Journal: Where the rows of tents and RVs end, a virtual outdoor museum begins. Stretching over two miles into the open desert, structures large and small rise from the pale dust: a cluster of lighthouses, the front half of a 747 airplane, a net of undulating lights. In every direction there’s something new to feast your eyes upon, or even climb or crawl into. At nightfall, the installations become illuminated or otherwise transform and present an entirely different landscape to explore.

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