tag:blogger.com,1999:blog-63499027134413925022023-11-16T10:21:32.635+00:00DIALOGUES OF ARTUnknownnoreply@blogger.comBlogger15125tag:blogger.com,1999:blog-6349902713441392502.post-37803299896530758602014-08-02T15:50:00.001+01:002014-09-24T10:24:04.677+01:00TRUE TALES at 7Arts, Leeds. 27 July 2014<b><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><a href="https://www.facebook.com/events/251617545031578/" target="_blank">True Tales</a></span></span></b><br />
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: xx-small;"><span style="font-family: Verdana,sans-serif;">Pablo Eustoquio</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;">Agnieszka Banas</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: xx-small;">Maya Makri</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: xx-small;"><span style="font-family: Verdana,sans-serif;">Lawrence Levin</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: xx-small;"><span style="font-family: Verdana,sans-serif;">Alison Ford of <a href="http://collisiontheorytheatre.wordpress.com/" target="_blank">COLLISION THEORY</a> </span></span></td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-41258606080774443652014-03-09T10:15:00.000+00:002014-08-02T15:53:43.495+01:00VISITANT at Project Arts Centre, Dublin. 19-22 February 2014<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><a href="http://totallydublin.ie/theatre/theatre-review-visitant-project-arts-centre/" target="_blank"><b>Visitant</b></a></span></span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;">Directed by <b>Trevor Knight</b></span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"> </span></span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;">Choreography </span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b>Gyohei Zaitsu</b></span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b></b></span><br />
<span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;">Performers </span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b>Gyohei Zaitsu, </b></span></span></span></b></span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b>Trevor Knight and </b></span></span></span></b></span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b>Aine O’Dwyer</b></span></span></span></b></span></span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;">Mu</span></span></span></span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;">sic</span></span></span><b><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b> </b></span></span></span></b></span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"></span></span></span></b></span></span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b><span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"><b>Trevor Knight and Aine O’Dwyer</b></span></span></span></b></span></span></span><br />
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;">If a picture's worth a thousand words then The Visitant (as a spectacle of gesture) is priceless. It is extreme, it is powerful and despite some naff acting by the musician/composer Trevor Knight, it is good theatre. No words of criticism like that she's no singer(!) can lessen the impact of Aoine O'Dwyer's harp playing. She's superb on the instrument though admittedly she's no actress either. Indeed, as the narrative progressed both Aoine and Trevor became somewhat of an encumbrance on the stage, somewhat getting in the way of the true hero of the evening, the choreographer and Butoh dancer Gyohei Zaitsu.<br /><br />The stage production however earns few brownie points in my book. Some significant action takes place on the floor which is hardly visible from anywhere bar the first two rows of the audience. At other times Aoine and Trevor block the view of the dancer completely. A surprising mistake on the director's part as this was essentially dance theatre with no spoken narrative to shift the audience focus and propel the story along.</span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><br />The costumes were another curiosity. Compared to the rather exquisite attire of the dancer, Trevor sporting an off-the-peg if unusually colourful suit and Aoine's long dress did little for the play's aesthetic resolve.<br /><br />As for the stage design, a few uncomfortable comments need to be made. Alice Maher is a good and well meaning artist and the ramp in the middle of the stage was a stroke of genius, I admit, but what of the rest? She should have known better. The stage is not a painter's canvass however tempting, nor is it a sculptor's pedestal to make a personal statement. Neither is it about decoration, however inventive. Stage design is architecture focused specifically on the dramatic narrative. The actors' play has a point and the designer's task is to materially extract from the story the elements that make it believable and to put these squarely before the audience. From a transient narrative to conjure up substance within the confines of the stage. In The Visitant however the final effect of the messy electronic paraphernalia higgledy-piggledy all over the place and the elephant of a harp smack in the middle of it all was rather more grating than surreal.</span></span><span style="font-family: Verdana, sans-serif; font-size: x-small;"></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><br />However, to be clear, the glory of the evening goes to Gyohei Zaitsu's performance and the music, both as composition and performance, and I feel immensely thankful for that.</span></span><br />
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;">Lighting Design <b>Marcus Costello</b><br />Set Design <b>Alice Maher</b><br />Costumes <b>Yuni Hong</b><br />Production Management <b>Miriam Duffy</b><br />Produced by <b>Aisling Murray</b></span></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-61227678711636633322014-02-23T10:55:00.000+00:002014-08-02T15:53:11.416+01:00NEW MOVEMENTS: REBECCA REILLY at Dancehouse, Dublin. 17th January 2014<div style="-webkit-touch-callout: none;">
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<b style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif;"><span style="font-size: x-small;"><a href="http://www.danceireland.ie/events/event.php?id=1607" target="_blank">No Less Than the Trees and the Stars</a></span></b></div>
<span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;">Choreography <b>Rebecca Reilly</b></span><br />
<span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;">Performers <b>Trevor Furlong, Leoba Petrie, Tonnta Choir, </b></span><b style="font-family: Verdana, sans-serif; font-size: x-small;">Katherine O' Malley, Philip Connaughton </b><span style="font-family: Verdana, sans-serif; font-size: xx-small;">and</span><b style="font-family: Verdana, sans-serif; font-size: x-small;"> Fergus Byrne</b><span style="background-color: rgba(255, 255, 255, 0); font-family: Verdana, sans-serif; font-size: xx-small;"> </span><br />
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<span style="-webkit-touch-callout: none; background-color: rgba(255, 255, 255, 0);"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Although still a work in progress, this was a spectacular showing of an intense melange of sound design (Trevor Furlong), the cello (Leoba Petrie) and the voice by the members of the Tonnta Choir. Unfortunately the dance did not amount to much. Admittedly, in the context of such talent the choreographer might have felt it'll do but really, isn't a research bursary about raising the bar and living up to the challenge?</span></span><br />
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<span style="-webkit-touch-callout: none; background-color: rgba(255, 255, 255, 0);"><span style="font-family: Verdana, sans-serif; font-size: x-small;">I suspect the problem may stem from the multiplication of roles that a choreographer is expected to fulfil these days. Apart from creating the dance narrative itself, choreographers are stage and production designers, accountants and producers, and whatever else that falls their way. I don't pretend to have an answer but I feel that a broader involvement of drama and theatre talent in dance, along the lines of creative collaborations already established with musicians, filmmakers and the like, might not be a bad idea.</span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-38926927124080128782014-01-05T11:11:00.001+00:002014-02-23T12:38:25.645+00:00ROAD MOVIES<div>
<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><b>Road Movies</b></span></span><br />
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<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">A friend of mine suggested I watch some Irish movies as homework before I say more on the subject. So for anyone interested here goes. My aim is a film maker's analysis rather than a review of any of the films. The difference is like that in all art and wine. Bad may still be worth consuming and give pleasure though in the end you're hardly better off.<br /><br />Now, this will only make sense to those who have seen the film when I say that “<a href="http://www.imdb.com/title/tt0126344/">I Went Down</a>" was finally a disappointment. The main character was underplayed throughout, close on boring in fact while his accomplice was actually very funny and kind of grew on you. It's like the director or the writer or whoever could not make up their minds as to who the hero was meant to be . . It rather reminded me of “<a href="http://www.imdb.com/title/tt0375063/">Sideways</a>” where for about a third of the film the hero’s travelling companion takes the central spot. It is subtle and you only realise it when you begin to feel more for the secondary character than the hero. Admittedly the film recovers but only with some heavy footed emotional pounding the hero gets from his ex-wife at his friend’s wedding.<br /><br />The pivotal point in “I Went Down” when the cheerful accomplice saves the hero's life lacked focus. A shame as it was critical to the plot when from unwilling bed fellows they become friends of sorts. The drama was lessened again when the guy they had kidnapped to bring back to the bad boss revealed himself a far more interesting figure than our hero.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><br />All in all, the plot was too complex to follow or care. The shoot-out scene at the end was slow in coming not to mention that the main villain was so unbelievable. He had the lines, he just about had the face but the body language was totally unconvincing. It made you think, this guy is scaring them? Really? Also, the love interest was underdeveloped to make much sense. As a character the ex-girlfriend was a non-entity. It seemed rather like a stab at padding out. At least she could have been a manipulative bitch who wants more than she deserves or gets. It may be unwarranted to put it all down to bad direction but clearly something's gone wrong. <br /><br />The camera work was often clever without a good reason which is always a no-no. This is where American cinema excels. Never a self conscious shot. The camera is there to serve the storyline. It is a guide to bring us along and show us whatever it is that we are told. That said, it was still far more intelligent than in "<a href="http://www.imdb.com/title/tt1346961/">The Eclipse</a>" but that is another story</span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-60638772695655495792014-01-03T17:46:00.001+00:002014-02-23T11:28:33.840+00:00JAMES JOYCE’S DUBLIN. VINTAGE PHOTOS FROM 1897 TO 1904<span style="font-family: Verdana, sans-serif; font-size: x-small;"><a href="http://www.openculture.com/2013/11/james-joyces-dublin-captured-in-vintage-photos.html" target="_blank"><b>JAMES JOYCE'S DUBLIN</b></a></span><br />
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<span style="font-family: Verdana, sans-serif; font-size: x-small; font-weight: normal;">"Had
the real Dublin crumbled . . "? Unfortunately in a very substantial
sense the real Dublin has crumbled. Only a short hop to the An Taisce
offices or The Georgian Society website will show you the extent of it.
Though it is local mess, it continues to shape the nation's image of
itself. This is tragic for there are good many people here - remember
the thousands that demonstrated against the Wood Quay development? - but
the prevailing political ethos is far below this country's best. The
peculiar pandering to the lowest common denominator encapsulated so well
in the "Sure, it'll do" mentality does no one any favours here.</span><br />
<h5 class="uiStreamMessage userContentWrapper" data-ft="{"type":1,"tn":"K"}">
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The Irish who remember the Dublin of the 40ties are few in number and
for the most part no longer care. In so many ways Ireland is an
extraordinary country but as a community it lacks a sense that it is
self governing and that for all it's woes no one else is to blame.<br /> <br /> The annihilation of the Irish railway network or the de<span class="text_exposed_show">struction
of Georgian Dublin are but two examples of how hell bent this country
was on remaking itself. Unfortunately it went about self definition the
Taliban way. But cultural identity and a sense of self comes from
accepting one's past, from it's ownership, and the built environment is
the very fabric in a very concrete form of that shared symbolic order,
to use Peter Fuller's phrase.<br /> <br /> The pride and spiritual pay off
that comes from the care and reconstruction of the past - what the Poles
have done in Warsaw for example - is invaluable. The rebuilding of
national heritage, much of which was destroyed by acts of ideological
vengeance, would help in no small measure to heal the common psyche, the
collective unconscious if you will, and allow the Irish to own their
past.<br /> <br /> On a practical level, this policy would also
re-invigorate the craftsmen artisan culture and be a boon to the tourist
industry, needles to say. Again, the rebuilding of the Warsaw castle is
a case in point.</span></span></span></span></span></h5>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-52332169349194297322014-01-03T16:32:00.001+00:002014-02-23T12:54:42.611+00:00IRISH FILM<span style="font-family: Verdana,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0); font-size: x-small;"><b>Irish Film </b></span></span><br />
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<span style="font-family: Verdana,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0); font-size: x-small;">Image and dialogue are mainly functional categories in film. Useful in direction and production though far less so in screen writing. In other words a film or a play </span><span style="font-size: x-small;">are experienced as a series of actions. There's a great book on this, "<a href="http://www.goodreads.com/book/show/284938.Backwards_Forwards">Backwards and Forwards</a>" by David Ball. I have a feeling that what some might mean by undue focus on <i>image</i> in Irish film is really quite a recent phenomenon in film in general that came with all the advances in image acquisition and processing technologies. It's only understandable. It was the same with CinemaScope as it is now with 3D. Just look at a Polish disaster of a 3D film "<a href="http://www.imdb.com/title/tt1783244/">Battle for Warsaw 1920</a>”. It will all pass. In the meantime here are a few thoughts on Irish film in general.</span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="background-color: rgba(255, 255, 255, 0); font-size: x-small;"><br />Lack of, a dearth of tragedy. Like everyone knows, the main thing about tragedy is that the hero struggles against all odds for what is believably presented to us as a laudable goal. In true tragedy (and these days very little of it about) the hero's suffering is inflicted upon her or him wantonly. It is a Greek invention. It asserts the basically unreasonable nature of the course of History. This is what makes the Hero's actions heroic, it is a fight for a (generally assumed) Lost Cause. The Hollywood Happy Ending is a clever adaptation of this by making, equally unreasonably, the Good and the Happy triumph. A good book in this context is "<a href="http://www.amazon.co.uk/The-Death-Tragedy-George-Steiner/dp/0300069162">The Death of Tragedy</a>" by George Steiner. An example of a film that should perhaps have grasped this tragic mantle is "<a href="http://www.imdb.com/title/tt2092011/">What Richard Did</a>". I admit I never read the book on which the film is based but if Richard is a hero then we do need to see him far more as an individual with a unique goal and which Gods (and why) decreed his tragic fate.<br /><br />Local nature of Irish film is a common issue. Often a way out is to focus of the mechanics of the story, the plot itself, see the successful British "Lock, Stock and Two Smoking Barrels". Another approach is to universalise the human condition eg. "The King's Speech". Another angle that has worked well in "<a href="http://www.imdb.com/title/tt0907657/">Once</a>" for example is to make the story cross cultural.</span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-3500247974610911532013-12-09T15:20:00.000+00:002014-08-02T15:54:56.575+01:00DEPARTURES at The Riley Theatre, NSCD. 7th December 2013<div style="-webkit-text-stroke-color: rgb(62, 42, 23); -webkit-text-stroke-width: initial; color: #3e2a17; font-family: Verdana; margin-bottom: 2px;">
<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.yorkshiredance.com/arrivals-departures"><b><span id="goog_488551536"></span>ARRIVALS / DEPARTURES</b></a><span id="goog_488551537"></span></span></div>
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<b><span class="Apple-style-span" style="font-size: x-small;"><i>O Maria</i></span></b></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Performers <b>Sabrina Ribes Bonet, Victoria de Silva </b>and<b> Joao Maio</b></span></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Choreography <b>Carlos Pons Guerra</b></span><br />
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<span class="Apple-style-span" style="font-size: x-small;"><i>O Maria</i> was an impressive piece of dance theatre. Perhaps not the most subtle in its symbolism, nonetheless it rose far above the usual cultural stereotypes. Whether Seville under Franco's regime had really anything to do with the story or the fact that the sado-masochism was conspicuously in kid's gloves, what to me was most impressive was the way the show handled nudity and it's transgender leitmotif. The erotic narrative had both precision and panache especially in Sabrina Ribes Bonet performance. Victoria de Silva's character could have done with less hip swaying perhaps but her dancing had a bold aesthetic integrity and Joao Maio brought out flawlessly the comic aspect of the Male Mary.</span></div>
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<b><span class="Apple-style-span" style="font-size: x-small;"><i>I Entity</i></span></b></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Performer <b>Elisabetta d'Aloia</b></span></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Choreography <b>Riccardo Meneghini</b></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><i>I Entity</i> begins well. A woman, a blond wig on her foot, stares at it like at another's face. A magic mirror, her alter ego perhaps? Questions and expectations arise. What does she see? How does she feel? What will she do? Soon however, trousers off, boots and the blond wig on, away she goes. What began so well theatrically unravels into a less than choreographed solo. Elisabetta d'Aloia is a dancer with a poetic presence that might need a stronger dramatic structure to come into her own.</span></div>
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<b><span class="Apple-style-span" style="font-size: x-small;"><i>Life is a Carnival</i></span></b></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Performer and Choreography <b>Moreno Solinas</b></span></div>
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<span style="font-size: x-small;">Moreno Solinas is a young Olympian with a taste for the tragic, the offbeat and the surreal. The recipe may not have worked as expected on the night but the intention was clear. From the smallest of finger movements to the whole body as nature intended, <i>Life is a Carnival</i> was one consummate piece of method acting. The blend of Fado like singing and detailed, masterly controlled movement with just a hint of Buster Keaton mad-hatter daring created a spell binding dance narrative. Transparent without simplification, solemn and comic, Moreno's confident handling of the dramatic structure was dance theatre of the first order.</span></div>
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<b><span class="Apple-style-span" style="font-size: x-small;"><i>Missing</i></span></b></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Performers <b>Ruth Janssen </b>and<b> Riccardo Meneghini</b></span></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Choreography <b>Douglas Thorpe</b></span></div>
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<b><span class="Apple-style-span" style="font-size: xx-small;">Mad Dogs Dance Theatre</span></b></div>
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<span class="Apple-style-span" style="font-size: x-small;">Ruth Janssen and Riccardo Meneghini are both experienced dancers but <i>Missing</i> landed far from its avowed aim. Admittedly, it was an ambitious undertaking. A couple's breakdown of intimacy after the loss of their child is often a closed circle of pain and hard to communicate. In this instance however, the choreography was vapid and too cliched to be emotionally engaging and the dried leaves underfoot as a natural symbol of death were more of an encumbrance than an integral part of the spectacle. The sense of ghostly emptiness that comes with the rustle of leaves in silence would have gone some way towards establishing a meaningful core of the piece on stage. Alas, <i>Missing</i> was an artistic challenge which needed far more of one's creative best thrown at it than I feel was the case on the night.</span><br />
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<b><span class="Apple-style-span" style="font-size: x-small;"><i>Abba, Pastries and the Stiff Upper Lip</i></span></b></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Performers <b>Rachel Fullegar, Sarah-Maria Cook, Rebecca Holmberg, Kate Cox.</b></span></div>
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<span class="Apple-style-span" style="font-size: xx-small;">Choreography <b>Gracefool Collective</b></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">I admit I'm not a fan of dancers speaking, we do have actors for that, but the cabaret like <i>Abba, Pastries and the Stiff Upper Lip</i> was fun. The dolly dolls and the moustached narrator in laced culottes gave a confident account of their talents in this Benny Hill type sketch. Though as the basis of the dramatic narrative, the Englishman, the Swede and the Dane joke did not seem to resolve itself, the performances were accomplished and the choreography well defined and tight.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-9721061324031712072012-04-24T12:43:00.002+01:002014-01-06T00:45:18.057+00:00FRAME ARCHITECTURE DANCE FILM<div style="color: black;">
<span style="font-family: verdana;"><span style="font-family: Verdana,sans-serif; font-size: large; font-weight: bold;">FRAME </span><span style="font-family: Verdana,sans-serif; font-size: large;">ARCHITECTURE DANCE FILM</span></span><br />
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<span style="font-size: x-small;"><b><span style="font-family: verdana;">Friday 27 April 2012 at 7:30pm<br />
Saturday 28 April 2012 at 7:30pm</span></b></span><br />
<span style="font-family: verdana; font-size: x-small;">OLD PATHOLOGY LAB</span><br />
<span style="font-family: verdana; font-size: x-small;">NATIONAL CONCERT HALL<br />
EARLSFORT TERRACE, DUBLIN 2.</span></div>
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<span style="font-family: Verdana,sans-serif; font-size: x-small;">Created and performed by <b>Michelle Fagan</b> and <b>Ríonach Ní Néill</b></span></div>
<span style="font-family: verdana; font-size: x-small;"><span style="font-family: Verdana,sans-serif;">Film by <b>Marek Bogacki</b></span></span><br />
<span style="font-family: verdana; font-size: x-small;"><span style="color: #444444; font-family: Verdana,sans-serif;">Original Music </span></span><span style="font-family: Verdana,sans-serif; font-size: x-small;">by <b>Pierecall</b></span><span style="font-family: verdana; font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><br style="color: black;" /></span><span style="color: #444444; font-family: Verdana,sans-serif;"> </span><span style="color: #444444; font-family: Verdana,sans-serif;">Production and Lighting Design </span><span style="color: #444444; font-family: Verdana,sans-serif; font-weight: bold;">Kevin Smith</span></span><br />
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<span style="color: #444444; font-family: Verdana,sans-serif; font-size: x-small;">P</span><span style="font-size: x-small;">roduced by <b>Richard Wakely</b></span></div>
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<span style="font-size: xx-small;">FRAME at BLACK BOX, Galway photo: Marek Bogacki</span></div>
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<span style="font-size: xx-small;">FRAME at BLACK BOX, Galway photo: Marek Bogacki</span></div>
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<span style="font-size: xx-small;">FRAME at BLACK BOX, Galway photo: Marek Bogacki</span><br />
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<span style="font-size: x-small;">FRAME is a site specific dance production created and performed by Michelle Fagan and Ríonach Ní Néill with film works by Marek Bogacki. The producer for Frame is Richard Wakely. In this new work, multi-award winning architect Michelle Fagan (FKL Architects), choreographer Ríonach Ní Néill and film-maker Marek Bogacki explore the architectural imagination and creative process, reflecting on our experience of the built environment as something made as much of ideas and emotions as of material.</span><br />
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<span style="font-size: x-small;">The production is funded by the Arts Council and the Department of the Environment, Heritage and Local Government under the Engaging with Architecture Scheme with support from a range of partners including Project Arts Centre, Dublin; the Office of Public Works; the Architectural Association of Ireland; National Concert Hall; the Irish Architecture Foundation and the Royal Institute of the Architects of Ireland.</span></div>
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<span style="font-size: x-small;">Ciotóg’s Artistic Director, Ríonach Ní Néill, is Galway Dancer in Residence and a member of the Project Arts Centre’s Catalyst Programme. Michelle Fagan is the current President of the Royal Institute of the Architects of Ireland and Director of FKL Architects. Marek Bogacki is a Polish film maker and director. Richard Wakely is an independent theatre and dance producer and arts consultant who also produces for Junk Ensemble and Sol Picó Dance Company.</span><br />
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<span style="font-family: verdana;"><span style="font-family: Verdana,sans-serif; font-size: large; font-weight: bold;">FRAME </span><span style="font-family: Verdana,sans-serif; font-size: large;">ARCHITECTURE DANCE FILM</span></span><br />
<span style="font-size: x-small;"><b><span style="font-family: verdana;">Thursday 19 April 2012 at 8 pm</span></b><span style="font-family: verdana;"><span style="font-family: Verdana,sans-serif;"><br />
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<span style="font-family: verdana; font-size: x-small;"><span style="font-family: Verdana,sans-serif;">BLACK BOX</span></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-67470028381568283682011-02-12T15:36:00.048+00:002014-01-06T00:39:42.301+00:00PAPER PYLONS<div style="color: black;">
<span style="font-family: verdana;"><span style="font-family: Verdana,sans-serif; font-size: large; font-weight: bold;">PAPER PYLONS</span></span><br />
<b><span style="font-family: verdana;"><span style="font-size: small;">21st - 26th February 2011 at 1pm</span></span></b><span style="font-family: verdana;"><span style="font-family: Verdana,sans-serif; font-size: large;"><br />
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<span style="font-family: verdana; font-size: small;"><span style="font-family: Verdana,sans-serif;">WOOD QUAY VENUE</span></span><br />
<span style="font-family: verdana; font-size: small;"><span style="font-family: Verdana,sans-serif;">DUBLIN CITY COUNCIL CIVIC OFFICES</span></span><br />
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<span style="color: #444444; font-family: verdana; font-size: x-small;">Choreography and Artistic Direction:</span><b><span style="font-family: Verdana,sans-serif; font-size: x-small;"> Fiona Quilligan</span></b><br />
<span style="color: #444444; font-family: verdana; font-size: x-small;">Dancers:</span><span style="color: #444444; font-family: verdana; font-size: x-small; font-weight: bold;"> Olwen Grindley, Fiona Quilligan and </span><span style="color: #444444; font-family: verdana; font-size: x-small; font-weight: bold;">Maria Nilsson</span><span style="font-family: verdana; font-size: x-small;"><span style="color: #444444;"> </span><br style="color: black;" /><span style="color: #444444;"> </span><span style="color: #444444;">Film Direction:</span><span style="color: #444444; font-weight: bold;"> Marek Bogacki</span><span style="color: #444444;"> </span><br style="color: black;" /><span style="color: #444444;"> </span><span style="color: #444444;">Photography:</span><span style="color: #444444; font-weight: bold;"> Marcelo Biglia</span><span style="color: #444444;"> </span><br style="color: black;" /><span style="color: #444444;"> </span><span style="color: #444444;">Music:</span><span style="color: #444444; font-weight: bold;"> Jack Quilligan</span><span style="color: #444444;"> </span></span><br />
<span style="font-family: verdana; font-size: x-small;"><span style="color: #444444;">Lighting Design:</span><span style="color: #444444; font-weight: bold;"> Kevin Smith</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_Riv51n8S4bQfj2ko7IFAqz-rA7QgbGM9H3w3sc1FKJaJiH5-gmMgC_thWTJCoiMPa_QGAj3YWzMrWgYySyajYQu6-z3p3OtvJ7VDIbijZzxZU-ZZPlproeXQrqu9C-d3mUlHHwc2g/s1600/Fiona_Quilligan_Double_Barre_duet2_photo_M_Biglia.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_Riv51n8S4bQfj2ko7IFAqz-rA7QgbGM9H3w3sc1FKJaJiH5-gmMgC_thWTJCoiMPa_QGAj3YWzMrWgYySyajYQu6-z3p3OtvJ7VDIbijZzxZU-ZZPlproeXQrqu9C-d3mUlHHwc2g/s400/Fiona_Quilligan_Double_Barre_duet2_photo_M_Biglia.jpg" id="BLOGGER_PHOTO_ID_5536992033373848770" style="height: 400px; width: 397px;" /></a> <br />
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<span style="font-family: Verdana,sans-serif; font-size: xx-small;">PAPER PYLONS photo: Marcelo Biglia</span><br />
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<span style="font-family: verdana; font-size: x-small;">Choreographer Fiona Quilligan and film maker Marek Bogacki explore archival material of the Ardnacrusha Shannon Scheme and create a work that reflects the scale and innovation of the project. The dancers bring to light Paper Pylons in a series of movements, film imagery and spoken word.<br />
</span><span style="font-family: verdana; font-size: x-small;"> "The work stems from an early memory. My father catches me running out the door 'Fiona will you roll a few sticks for the fire'. He would often talk to me about his first job as a young engineer on the Shannon hydro-electric scheme in 1925 at Ardnacrusha, Co.Clare. He described the massive scale of the operation, Siemens the contractors, the size of the turbines with hundreds of rivets hammered in by hand. Listening to his voice I imagined the men working on the spiral casings as I rolled the paper.</span></div>
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<span style="font-family: verdana; font-size: x-small;"> PAPER PYLONS was made possible with the generous support of the Arts Council of Ireland.</span><br />
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<span style="font-family: verdana; font-size: large;"><span style="font-weight: bold;">HERON</span></span> </div>
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<span style="font-family: verdana; font-size: x-small;">Dancer: </span><span style="font-family: verdana; font-size: x-small; font-weight: bold;">Maria Nilsson</span><span style="font-family: verdana; font-size: x-small;"> <br />
</span><span style="font-family: verdana; font-size: x-small;">Choreography Writer: </span><span style="font-family: verdana; font-size: x-small; font-weight: bold;">Fiona Quilligan</span> </div>
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<span style="font-family: verdana; font-size: x-small;">Photography: <span style="font-weight: bold;">Marcelo Biglia</span></span></div>
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<span style="font-family: verdana; font-size: x-small;">Music: <span style="font-weight: bold;">Fabio Keiner</span></span><span style="font-family: verdana; font-size: x-small;"><span style="font-weight: bold;"> </span></span> </div>
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<span style="font-family: verdana; font-size: x-small;">Direction and Edit: <span style="font-weight: bold;">Marek Bogacki</span></span> </div>
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<span style="font-family: verdana; font-size: x-small;">Produced by: <span style="font-weight: bold;">DOCUMENTAVI 2011</span></span> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxox5XvDfwAsNonFJ7BHZBC3slrCpW4het0xHUHOV0ghD9gWyk4Jc34c2KVVqJtXJkL1ylWaQ5zVDsbzz-Y7e-faZ4HH9w5U3VpWlmp4LHRurmETUEiepbCHxJ5eHvFT6rco0480bJUw/s1600/3.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxox5XvDfwAsNonFJ7BHZBC3slrCpW4het0xHUHOV0ghD9gWyk4Jc34c2KVVqJtXJkL1ylWaQ5zVDsbzz-Y7e-faZ4HH9w5U3VpWlmp4LHRurmETUEiepbCHxJ5eHvFT6rco0480bJUw/s320/3.jpg" id="BLOGGER_PHOTO_ID_5574614621294110546" style="cursor: pointer; height: 180px; width: 320px;" /></a> <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihQOzeyYaL197ldKQYItfXYpj2R7coCHHN_AAlYuNakgepKASHaKFnYf7zB-BYxOPV910ETtuRSXbh1hGJXrrjTU0I2B1w7Hs-tbFGISnI1NTnD5THnB-ipggMbYATg1-xNAWaGj_U4A/s1600/4.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihQOzeyYaL197ldKQYItfXYpj2R7coCHHN_AAlYuNakgepKASHaKFnYf7zB-BYxOPV910ETtuRSXbh1hGJXrrjTU0I2B1w7Hs-tbFGISnI1NTnD5THnB-ipggMbYATg1-xNAWaGj_U4A/s320/4.jpg" id="BLOGGER_PHOTO_ID_5574614622303493410" style="cursor: pointer; height: 180px; width: 320px;" /></a> <br />
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</span></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-87009390721506296822011-01-31T01:52:00.014+00:002014-01-06T00:40:23.077+00:00PATRICK PYE COMMUNICATING EXPERIENCE <span style="font-family: verdana; font-size: large; font-weight: bold;">PATRICK PYE </span><span style="font-family: verdana; font-size: large;">COMMUNICATING EXPERIENCE</span><b><span style="font-family: verdana; font-size: x-small;"> </span></b><br />
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<span style="font-family: verdana; font-size: x-small;">A fragment of a talk by the painter Patrick Pye at the International Society of Christian Artists Conference at Glenstal Abbey, Co. Limerick, Ireland on 18th July 2009.</span></div>
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<embed src="http://www.youtube.com/v/mDHj8PoR_24?version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="720" height="262"></object>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-25263740528337672962010-11-05T14:10:00.050+00:002014-01-06T00:41:36.196+00:00PAPER PYLONS INNOVATION DUBLIN 2010<div style="color: black;">
<span style="font-family: verdana;"><span style="font-family: Verdana,sans-serif; font-size: large; font-weight: bold;">PAPER PYLONS </span><span style="font-family: Verdana,sans-serif; font-size: large;">INNOVATION DUBLIN 2010</span></span><br />
<b><span style="font-family: verdana;"><span style="font-size: small;">Wednesday 10th and Friday 12th November 2010 at 6pm</span></span></b><span style="font-family: verdana;"><span style="font-family: Verdana,sans-serif; font-size: large;"><br />
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<span style="font-family: verdana; font-size: small;"><span style="font-family: Verdana,sans-serif;">WOOD QUAY VENUE</span></span><br />
<span style="font-family: verdana; font-size: small;"><span style="font-family: Verdana,sans-serif;">DUBLIN CITY COUNCIL CIVIC OFFICES</span></span><br />
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<span style="color: #444444; font-family: verdana; font-size: x-small;">Choreography and Artistic Direction:</span><b><span style="font-family: Verdana,sans-serif; font-size: x-small;"> Fiona Quilligan</span></b><br />
<span style="color: #444444; font-family: verdana; font-size: x-small;">Dancers:</span><span style="color: #444444; font-family: verdana; font-size: x-small; font-weight: bold;"> Olwen Grindley, Fiona Quilligan and </span><span style="color: #444444; font-family: verdana; font-size: x-small; font-weight: bold;">Maria Nilsson</span><span style="font-family: verdana; font-size: x-small;"><span style="color: #444444;"> </span><br style="color: black;" /><span style="color: #444444;"> </span><span style="color: #444444;">Film Direction:</span><span style="color: #444444; font-weight: bold;"> Marek Bogacki</span><span style="color: #444444;"> </span><br style="color: black;" /><span style="color: #444444;"> </span><span style="color: #444444;">Photography:</span><span style="color: #444444; font-weight: bold;"> Marcelo Biglia</span><span style="color: #444444;"> </span><br style="color: black;" /><span style="color: #444444;"> </span><span style="color: #444444;">Music:</span><span style="color: #444444; font-weight: bold;"> Jack Quilligan</span><span style="color: #444444;"> </span></span><br />
<span style="font-family: verdana; font-size: x-small;"><span style="color: #444444;">Lighting Design:</span><span style="color: #444444; font-weight: bold;"> Kevin Smith</span></span><br />
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<span style="font-size: x-small;">As part of Innovation Dublin this dance performance and a film presentation demonstrate the research process of choreographer Fiona Quilligan in collaboration with film maker Marek Bogacki. Together they explore archive material of the ESB Shannon Scheme and create a work that reflects the scale, innovation and infrastructure of the project. An imaginative work that brings to light Paper Pylons and layered dance sequences and spoken texts.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9PGDVn6RUJrBYHdPyHeBGyfPzO_R1wHdNWf_pET892JYc7S_Rqa73tjCZMXGbUP4ReTj_xuE-xklDQwc5a7kjQgZ1VMsUyKyMw-vAtOPxx-oSyura6tgYc0mYgtqu9YUORPadfeJo3g/s1600/Fiona_Quilligan_Paper_Pylons_photo_M_Bogacki.jpg" style="font-family: verdana;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9PGDVn6RUJrBYHdPyHeBGyfPzO_R1wHdNWf_pET892JYc7S_Rqa73tjCZMXGbUP4ReTj_xuE-xklDQwc5a7kjQgZ1VMsUyKyMw-vAtOPxx-oSyura6tgYc0mYgtqu9YUORPadfeJo3g/s400/Fiona_Quilligan_Paper_Pylons_photo_M_Bogacki.jpg" id="BLOGGER_PHOTO_ID_5536999424637238802" style="cursor: pointer; height: 400px; width: 400px;" /></a><br />
<span style="font-family: verdana; font-size: xx-small;">Paper Pylons photo: Marek Bogacki</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHDpRRkcq_lAYP91ZUe2i6cbtKcfYRt_8wYbHSiRzzZi2mh1ykTIDemBknIw_7TAoNnaHgJ6HlCu2jgvvrclLgSdqtf7WWZYuOVe3P4igYrmaD0ljwef1fNpDnY-EA60WvZAwCRhKeg/s1600/Fiona_Quilligan_Double_Barre_duet_photo_M_Biglia.jpg" style="font-family: verdana;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHDpRRkcq_lAYP91ZUe2i6cbtKcfYRt_8wYbHSiRzzZi2mh1ykTIDemBknIw_7TAoNnaHgJ6HlCu2jgvvrclLgSdqtf7WWZYuOVe3P4igYrmaD0ljwef1fNpDnY-EA60WvZAwCRhKeg/s400/Fiona_Quilligan_Double_Barre_duet_photo_M_Biglia.jpg" id="BLOGGER_PHOTO_ID_5536991168518429154" style="cursor: pointer; height: 400px; width: 400px;" /></a><br />
<span style="font-family: verdana; font-size: xx-small;">Fiona Quilligan and Olwen Grindley photo: Marcelo Biglia</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDhJNkImXkPGX79LDb8RrDcbDOfYevKNO7gt8TQSHV_XKWbqUtUoHP1v8fL6tpkjn6SWk3q4y7opBfTeov6Q9WFQD4WPjrvsDuDbhDpWg2hcSjKgMJVw69fwEva4uSZ9QMnbsT-p9OKQ/s1600/Fiona_Quilligan_Working_Men_photo_M_Biglia.jpg" style="font-family: verdana;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDhJNkImXkPGX79LDb8RrDcbDOfYevKNO7gt8TQSHV_XKWbqUtUoHP1v8fL6tpkjn6SWk3q4y7opBfTeov6Q9WFQD4WPjrvsDuDbhDpWg2hcSjKgMJVw69fwEva4uSZ9QMnbsT-p9OKQ/s400/Fiona_Quilligan_Working_Men_photo_M_Biglia.jpg" id="BLOGGER_PHOTO_ID_5536991186406854402" style="cursor: pointer; height: 400px; width: 400px;" /></a><br />
<span style="font-family: verdana; font-size: xx-small;">Olwen Grindley photo: Marcelo Biglia</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-23173101355569213742008-11-04T09:42:00.003+00:002014-01-06T00:42:28.113+00:00SEAMUS HEANEY THE POETRY OF ZBIGNIEW HERBERT<span style="font-family: verdana;"><span style="font-family: Verdana,sans-serif; font-size: large;"><b>SEAMUS HEANEY</b> THE POETRY OF ZBIGNIEW HERBERT</span></span><br />
<b><span style="font-family: Verdana,sans-serif; font-size: small;">16th October 2008</span></b><span style="font-family: verdana; font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span><br />
<span style="font-family: verdana; font-size: small;"><span style="font-family: Verdana,sans-serif;">IRISH WRITERS' CENTRE</span></span><br />
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<iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="http://player.vimeo.com/video/2755761?portrait=0" webkitallowfullscreen="" width="400"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-19987953944690243012008-10-28T12:40:00.001+00:002014-01-06T00:42:04.510+00:00MARTIN REYNOLDS A GLIMPSE OF POLAND<div style="font-family: Verdana,sans-serif;">
<span style="font-size: large; font-weight: bold;">MARTIN REYNOLDS</span><span style="font-size: large;"> A GLIMPSE OF POLAND</span><span style="font-size: medium;"><br /></span></div>
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<span style="font-size: x-small;">An interview with the architect Martin Reynolds about his exhibition of drawings of Polish civic architecture at Irish Polish Society Dublin in 2008.</span></div>
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<embed src="http://www.youtube.com/v/oQcF9OHY-3o&hl=en&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" width="425" height="344"></embed></object>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-4881833899946052002008-04-15T20:45:00.003+01:002014-01-06T00:04:34.626+00:00PATRICK PYE ON ART AND CHRISTIANITY<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">An autobiographical talk by the painter Patrick Pye. It was recorded at the Church of St. Teresa, Clarendon St., Dublin, in 2007.</span></span><br />
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<div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='400' height='326' src='https://www.youtube.com/embed/VtOZ7Lx5Av8?feature=player_embedded' frameborder='0'></iframe></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6349902713441392502.post-24153496521426542452008-04-09T01:06:00.000+01:002014-01-06T00:37:38.909+00:00NEUROESTHETICS<div style="text-align: left;">
<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">Some time ago I came across an essay by <a href="http://www.edge.org/3rd_culture/bios/ramachandran.html">V.S. Ramachandran</a> and <a href="http://en.wikipedia.org/wiki/William_Hirstein">W. </a><span class="cit-auth"><span class="cit-name-surname"><a href="http://en.wikipedia.org/wiki/William_Hirstein">Hirstein</a> </span></span>on the neurology of artistic experience, and although it seemed to me badly mistaken I was hoping that someone else would answer it before I got round to it. <a href="http://www.queens.ox.ac.uk/academics/hyman/">John Hyman</a> did, and very well too.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><span class="cit-auth"><span class="cit-name-surname">Ramachandran</span> <span class="cit-name-given-names">V. S.</span></span> and <span class="cit-auth"><span class="cit-name-surname">Hirstein</span> <span class="cit-name-given-names">W.</span></span><cite> (<span class="cit-pub-date">1999</span>). <span class="cit-article-title">The science of art: A neurological theory of aesthetic experience</span>.</cite></span></span><span class="highwire-citation-authors"><span class="highwire-citation-author first last article-author-popup-processed" data-delta="0" rel="#hw-article-author-popups .author-tooltip-0" title=""><span class="nlm-surname"> Journal of Con sciousness Studies, 6(6-7), 15-51.</span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><a href="http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CDEQFjAA&url=http%3A%2F%2Fwww.imprint.co.uk%2Frama%2Fart.pdf&ei=6vXJUt-uOcyh7AbS4oAQ&usg=AFQjCNHSScOYG_u6rfa7LA-ft-P6CQnP8Q&sig2=jNVo6_xZjTk-9UGPROrH6Q">Download in .pdf format</a></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">John Hyman <i><i>"Art and neuroscience"</i>,</i> reprinted in Beyond Mimesis and Convention, ed. R.P. Frigg and M. Hunter, Boston Studies in the Philosophy of Science, 262, Springer 2010. (German translation in Kunst und Kognition, ed. M. Bauer et al, Wilhelm Fink Verlag, 2006; Greek translation in Neuroestética, ed. Antonio Martín Araguz, 2011.)</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><a href="http://www.queens.ox.ac.uk/academics/hyman/files/art_and_neuroscience.pdf">Download in .pdf format</a></span></span><br />
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<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">You will find a recent review of this issue on SAGE OPEN by Jason Holt <i>"Neuroaesthetics and Philosophy"</i>, also in</span></span><i><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"> Journal of Consciousness Studies, 6(6-7), 15-51.</span></span></i><br />
<span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><a href="http://sgo.sagepub.com/content/spsgo/3/3/2158244013500677.full.pdf#pdfjs.action=download"><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">Download in .pdf format</span></span></a></span></span><i><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></i></div>
Unknownnoreply@blogger.com0