Saturday, January 20, 2018

 

Graffiti Graffitez Graffitons


Street Art City in Lurcy-Lévis, Allier, France
&


Abstract:

Lost in the middle of nowhere in Central France this ex-industrial wasteland of the French postal and telephone public company was bought by Gilles and Sylvie Iniesta in 2003 and they opened it up to street artists in 2016, and finally to the public in May 2017.

Unique in the world, it is becoming like all respectable vampires or werewolves, becoming the first non-urban permanent and sustainable center of Street Art and it is worth a detour if you are not too far, or even a trip if you are from more distant climes.  The 128 bedrooms of this ex-training center are not yet open to the public, but they will be soon.

Street art is evanescent and here it is made to last longer than a couple of days or weeks. It is international and it is first of all a cry for freedom, freedom of expression, freedom of delivery and distribution to the public, freedom of thought and of creation.

This project is so attractive to these street artists that the owners have to choose, select, something that goes against the grain of street art but that will have to be managed "professionally" without falling down, into the abyss of politically, socially, culturally, artistically correct trendiness.

To be followed with interest and dililgence. Get on your Internet and Google or Bling or whatever "Street Art City, Lurcy-Lévis" to have teh latest news.
 
Research Interests:

Performing ArtsArtHistory of ArtStreet ArtUrban GraffitiGraffitiVisual Arts, and Industrial Wastelands

Friday, January 19, 2018

 

The Botmaster of Cyber War will be American


Cyber War will come from the USA

https://medium.com/@JacquesCoulardeau/cyber-war-will-come-from-the-usa-63f1e480b494

PERSON OF INTEREST – SEASON 1-4 – 2011
This series is extremely difficult to analyze because it is so unreal that it sounds untrue though we know it is particularly true, with a few mistakes. […]

PERSON OF INTEREST – SEASON 5 – 2017

[…] The Botmaster will never win such a war but the Botmaster is not a stranger, is not a foreigner, he is one from inside the inner and even innerest circle of the federal state in the USA. 



Thursday, January 18, 2018

 

Benjamin Britten, the Magic of Opera



Théâtres du Monde - Sommaire du N°27
http://www.theatresdumonde.com/mn_accueil.html
L’ÉTRANGER (L’AUTRE) AU THÉÂTRE (n° 27, 2017)

Télécharger la présentation de ce numéro au format PDF
 



AVANT-PROPOS
Maurice ABITEBOUL
Un projet humaniste

INTRODUCTION
Marc LACHENY
L’Étranger (l’autre) au théâtre

ÉTUDES SUR « L’ÉTRANGER (L’AUTRE) AU THÉÂTRE »
Théa PICQUET
L’Autre dans La Venexiana, comédie anonyme du Cinquecento
Christian ANDRÈS
Le guanche de Ténérife dans une comedia de Lope de Vega : un étranger ennemi, un sauvage ou un barbare ?
Henri SUHAMY
L’étranger dans le théâtre de Shakespeare
Maurice ABITEBOUL
Hamlet… entre autres : de l’altérité à l’aliénation et retour au même
Aline LE BERRE
Le père étranger dans Don Carlos de Schiller (1787)
Marc LACHENY
Un théâtre « qui ne fait de mal à personne » ? Pour une relecture des Bourgeois à Vienne (1813) et des Étrangers à Vienne (1814) d’Adolf Bäuerle
Jean-Pierre MOUCHON
L’Étranger, poème et musique de Vincent d’Indy (1903)
Jacques COULARDEAU
Benjamin Britten. L’étranger, l’enfant et la mort dans ses opéras
Edoardo ESPOSITO
Une énigme venue d’ailleurs dans une pièce de Pirandello
Marc LACHENY
Karl Kraus, de la Sorbonne à la Comédie-Française
Thérèse MALACHY
Le commissaire Maigret de Georges Simenon et « les autres »
Claude VILARS
Quand apparaît l’« autre » dans le théâtre de Sam Shepard
Marie-Françoise HAMARD
Place des héros de Thomas Bernhard : altérité et aliénation – identification et ipséité
Sepideh SHOKRI-POORI
Le théâtre iranien comme moyen d’intervention : le discours interculturel dans Hé ! Macbeth, seul le premier chien sait pourquoi il aboie
Sepideh SHOKRI-POORI
Marina Abramovic : un regard médusant
Ouriel ZOHAR
Le mariage mixte dans Elle voyait dans les champs étrangers (d’Ouriel Zohar)
Bruno MANCINI
Le [bouffon du] roi est mort, vive le [bouffon du] roi ! Souvenir de Dario Fo, dernier Prix Nobel italien de littérature

COMMENTAIRES ET RÉFLEXIONS
Olivier ABITEBOUL
L’autre philosophe : quand les philosophes se donnent en spectacle ou la relation épistolaire impossible

ATELIER D'ÉCRITURE
Michel AROUIMI
Marie Stuart ou Migration des reines
Maurice ABITEBOUL
Le Revenant ou l’autre en je(u)

VU SUR SCÈNE
Jean-Pierre MOUCHON
Chorégies d’Orange – La Traviata – Opéra en trois actes (musique de Giuseppe Verdi et livret de Francesco Maria Piave)
Marcel DARMON
Turandot, opéra de Puccini

NOTES DE LECTURE
Ingrid LACHENY
* Elena Randi, François Delsarte : la scène et l’archétype

Quelques publications récentes de nos rédacteurs :
Aline LE BERRE
* Marc Lacheny, Jacques Lajarrige, Éric Leroy du Cardonnoy (dir.), Modernité du mythe et violence de l’altérité..
Maurice ABITEBOUL
* Christian Andrès, Triptyque

NOTICES SUR LES AUTEURS
SOMMAIRES DES NUMÉROS PRÉCÉDENTS


REVUE THEATRES DU MONDE
Prix, commandes et abonnements

Siège social : Université d'Avignon
Faculté des Lettres et Sciences Humaines
ARIAS-Théâtres du Monde
Madame Brigitte Urbani
62, route de Lyon
84000 - Avignon 

Le prix du numéro, comportant 400 pages environ, est fixé actuellement à 35 euros (+ 5 euros de frais).
(Abonnements et commandes doivent être adressés à 
Brigitte Urbani.)

PROCHAINS NUMÉROS :
  numéro 28 (2018)
Le théâtre au risque de la traduction
  numéro 29 (2019)
Bienséance et malséance / Décence et indécence
  numéro 30 (2020)
Le bruit et la fureur au théâtre / Haine, violence et guerre

Propositions d'article pour publication
La revue accepte, après accord du Comité de Lecture, de publier des articles portant sur le théâtre et les autres arts du spectacle (mimes, marionnettes, opéra, cinéma, etc.).
Les manuscrits proposés à la revue en vue de publication doivent être adressés (joindre un résumé et un bref CV : fonctions, titres, axes de recherche notamment) directement 
par courrier électronique au directeur, Maurice Abiteboul et au rédacteur en chef, Marc Lacheny.

CONTRIBUTIONPERSONNELLE
Benjamin Britten. L’étranger, l’enfant et la mort dans ses opéras

Partant de l’opéra Death in Venice (1973) et concluant avec l’opéra The Children’s Crusade (1969), Jacques COULARDEAU remonte dans son étude jusqu’à Peter Grimes (1945) et se penche sur plusieurs thématiques : œuvres adaptées d’Henry James, inspiration religieuse, référence élisabéthaine, ainsi que l’enfant rejeté, exploité, victime.
Il prend ici le terme d’« étranger » dans ses trois acceptions anglaises : « stranger » (inconnu), « estranged » (ostracisé) et « foreigner » (d’un pays étranger). Le thème du rejet négatif ou de la sélection positive mais pour tâche sacrificielle ou calvaire salvateur est absolument central dans l’œuvre de Benjamin Britten qui, musicalement, fait se rencontrer diverses influences modernes ou anciennes, mais surtout qui construit avec ses librettistes des symboliques fortes puisant dans l’héritage roman médiéval. La musique est parfois époustouflante de modernité enracinée dans des traditions séculaires occasionnellement étrangères (Théâtre No du Japon).



You will find all the reading and research notes IN ENGLISH, opera by opera in the following file of some 140 pages.

I am pretty sure opera lovers, Benjamin Britten enthusiasts and music lovers will enjoy following, in chronological order, the building of a whole temple dedicated to the figure of the estranged man, rarely estranged woman, confronted to a child, most of the times a boy, at times a boy and a girl and how these children are confronted to death, real sad death that is anything but natural; but also the death that comes as sinister fate, as war and an obsessive and recurrent Jewish reference, be it Biblical or be it 1939 and Bertold Brecht’s visionary poem on the extermination of children, and first of all the Jewish child on the decision of a Nazi judge.

You will of course love and enjoy over and over again Thomas Mann’s Death in Venice, that poignant story of an old man seeing his end coming and falling in love with a young teenager he will not speak to, he will not touch nor approach in any way, contemplating in him his possible descent, his possible heritage, his possible continuation in his search for beauty, the formal architecture of beauty that is so mesmerizing when met in pure mental and spiritual expectation to survive in it because beauty will survive his own departure.

Death becomes an offering to God and life in this empathetic search for fulfillment.

Dr. Jacques COULARDEAU

Benjamin BRITTEN & Jacques COULARDEAU @Academia.edu & @slideshare.net (73)

 

Britten'sOperasSurvivalPsychopompDeath
https://www.academia.edu/30240729/BrittensOperasSurvivalPsychopompDeath

Britten's Operas Love Rejection Death

http://www.slideshare.net/JacquesCoulardeau/brittens-operas-love-rejection-death
Both Published on Dec 4, 2016

TABLE OF CONTENTS

0.      Introduction                                                          p. 2
1.      Paul Bunyan 1941-1976                                      p. 5
2.      Peter Grimes 1945                                              p. 13
3.      Rape of Lucretia 1946                                         p. 18
4.      Albert Herring 1947                                             p. 23
5.      Saint Nicolas 1948                                              p. 30
6.      The Little Sweep 1949                                         p. 33
7.      Billy Budd 1951                                                    p. 39
8.      Canticle II: Abraham and Isaac 1952                  p. 43
9.      Gloriana 1953                                                      p. 45
10.   Turn of the Screw 1954                                       p. 51
11.   Prince of Pagodas 1957                                      p. 74
12.   Noye’s Fludde 1958                                            p. 75
13.   Midsummer Night’s Dream 1960                         p. 79
14.   War Requiem 1962                                             p. 92
15.   Curlew River 1964                                               p. 104
16.   Burning Fiery Furnace 1966                                p. 109
17.   The Golden Vanity 1966                                      p. 119
18.   Prodigal Son 1968                                               p. 120
19.   The Children’s Crusade 1969                             p. 124
20.   Owen Wingrave 1970                                          p. 126
21.   Death in Venice 1973                                          p. 136

Research Interests:
Music, Music History, Jewish Studies, Death Studies, Children and Families, War Studies, Opera, Death and Burial (Archaeology), Philosophy of Love, Ideologies of Motherhood, Masculinity, Fatherhood, Boys, Child Soldiers, Hebrew Bible/Old Testament, Psychopomps and ópera




Wednesday, January 17, 2018

 

The Mayas are the mystery of America


Invitation to Homo Sapiens in the Americas
Follow the Guide, Dr. Jacques COULARDEAU

But First some Petits-Fours for the road

Now the Clovis hypothesis has been pushed aside, that theory that said no Homo Sapiens came to the Americas before something like 12,000 years ago, some 7,000 years after the peak of the Ice Age; now with the evidence that Homo Sapiens crossed the Bering Strait before the peak of Ice Age something around 25,000 years ago; now it becomes possible to consider the digs in southern Chile that have already reached that time and it promises to go even further back; and now we have the proof of another migration from the Southern Pacific, a migration that would have gone beyond Easter island. 
The two migrations would have met in Central America. The southern migration very competent in stone-building, the northern migration very competent in adapting to non-sedentary living conditions. 
The meeting of the two, and probably their mixing, would explain Amazonian Indians as connected to Northern American Indians, and the common mythology based on the mathematical knowledge of the Southern American Indians (Incas, Aztecs and Mayas) and re-written in more drastic non-sedentary and migrant figures and patterns. 
The turtle in the middle of the ocean is a good metaphor of the earth for people who do not build pyramids on the land or cities four or five thousand meters high in the mountains. The common elements in two clearly different mythologies seem to show there are two traditions meeting there.
The Clovis theory of Northern American scholars was blocking any other approach with what some considered was autocratic institutional manacles. Now we can start thinking and some are going to get a headache.
 And the following discovery is the missing link between the Incas and the Mayas.


"Lost" Amazon Complex Found; Shapes Seen by Satellite
By John Roachpublished january 7, 2010

Hundreds of circles, squares, and other geometric shapes once hidden by forest hint at a previously unknown ancient society that flourished in the Amazon, a new study says. . . “ Go to the article for more.

The Mayas, Key & Lock of America.
For the Curious – and the Final Bosses

Abstract:

I am here finding elements that can be connected to many other systems in the world, both languages and rituals. Maya as a language is not an isolate. The point is that the written system is so complex and the calendar calculations are so complicated that we cannot consider they appeared like that, ready to be used in about 1000 BCE and certainly not later.
These systems must have required many milennia to be invented and refined, just like Mayan architecture and Mayan technology capable of producing a durable material medium for their language and stories.
It is the same thing with corn that had to be completely genetically modified to become what we know it is that CANNOT reproduce without a human hand to get the grains out of the husk. And we could speak of their ritualistic beverages that are so complicated that they look like some fine art perfume produced by today's chemical laboratories.
I think here that the Mayan culture, the Aztec culture, the Toltec culture, the Inca culture could not have evolved from a population coming along with the Clovis migration. If it took 5,000 years for the Sumerians to devise their writing system which is child's play when compared to the Mayan system, I believe these Homo Sapiens must have arrived in the Americas before the Ice Age and certainly not late after it. To devise this writing system when the language would have stabilized enough, not to speak of the calendars, the Mayans must have needed at least 15,000 years, probably more.
Except of course if you consider language is a gift from extraterrestrials or angels and gods, which is not within my frame of mind.
Dr Jacques COULARDEAU

Research Interests:
Central American StudiesChilean and Andean ArchaeologyAlaska ArchaeologyThe peopling of the AmericasIce AgesClovis TheoryHomo Sapiens in AmericaNorthern migration, and Southern migration

And Resources are Infinite for any Mental Adventurer

1. JOHN MONTGOMERY – DICTIONARY OF MAYA HIEROGLYPHS – 2002 - SECOND PRINTING 2006

2. JOHN MONTGOMERY – HOW TO READ MAYA HIEROGLYPHS – 2002

3. MUSEE DU QUAI BRANLY – MUSIQUES ET CHANTS – MAYAS – LES AMERINDIENS, PEUPLES MAYA, TOTONAQUE, CORA – MEXIQUE – FREMEAUX ASSOCIES, 2014

4. MUSÉE DU QUAI BRANLY – MAYAS, RÉVÉLATIONS D’UN TEMPS SANS FIN – 2014


6. Forgotten Mayan city 'discovered' in Central America by 15-year-old, William Gadoury made a link between the location of Mayan cities and the civilization's major constellations, Samuel Osborne  @SamuelOsborne93 Monday 9 May 2016 21:57 BST

7. Archaeologists uncover new clues to Maya collapse, January 23, 2017 by Alexis Blue, www.pnas.org/cgi/doi/10.1073/pnas.1618022114 Journal reference: Proceedings of the National Academy of Sciences, Provided by: University of Arizona

 

Cyber war seen as Cold War for children


Cyber War, the new Cold War explained to children


To teach Internet security to children can be very tricky.

The following comic books are typical of a strict enforcement of century-old rules in the USA: “Do not speak to strangers.” “Do not accept anything from strangers.” This approach here, particularly in the first volume, is sexist (for boys only), and color-blind, which means racist, still again in the first volume only. The second volume corrects this sexism with two females, one positive, the other negative, just like the men, and the afore-mentioned racism with a black woman on the good side with a Latino name. But the second volume centers on a trinity of good agents who are a slightly modified version of the Christian Trinity, hence something that cannot speak the same way to everyone and is intended to speak to Christian children.

But the worst shortcoming is the vision of cyberwar in cyberspace as nothing but a new Cold War that opposes the good Americans to all the bad ones outside this American pale. To thus train and knead children’s minds into believing that everyone outside one’s small certified friendly circle is bad and evil is the worst possible service rendered to the world, history, civilization. The result is in the making: The Internet is becoming more and more shattered by such imperialism from the narrow-minded circle of those in America who believe they are the only ones who are right, just, good, angelic and of course stable and genial.

There is a lot more to do in that direction to bring the younger – and why not the older – generations to a full commitment to and understanding of human civilization based on human values: open-mindedness, empathy, love, diversity and equanimity.

Dr. Jacques COULARDEAU

THE CYNJA VOLUME 1 – CHASE CUNNINGHAM – HEATHER C. DAHL – SHIROW DI ROSSO, illustrator – © 2013

CODE OF THE CYNJA VOLUME 2 – CHASE CUNNINGHAM – HEATHER C. DAHL – SHIROW DI ROSSO, illustrator – © 2015



Tuesday, January 16, 2018

 

Serban VC Enache might be the loudspeaker of tomorrow



Serban V.C. ENACHE @Amazon (78)

You can also find him regularly with his column on SPICE TODAY, https://www.splicetoday.com/, a column that wants to stir progressive people in Romania, Europe and the world against rent-collectors and other profiteers who exploit some countries and some classes of people right down into starvation or suicidal rebellion.

Serban VC Enache, Fantastic-Heroic Novelist


Serban VC Enache, Romanian Novelist

Abstract:

Welcome to my tiny shady spot of a realm
http://serbanvcenache.blogspot.fr/ 

I'm a 27 year old fiction writer interested in economics, history, metaphysics, science, technology, comedy, and politics. My medieval fantasy series Of Hate And Laughter has come at last. This universe of mine is one of infernal majesty.

Born on March 25, 1989, in Bucharest/Romania. Single parent child. I blame my mother for the long-ass name. Licensed in journalism. Creator of the Of Hate And Laughter series. This universe is one of infernal majesty; it's my heart and soul. If it matters to anyone, my sun sign is Aries, moon sign is Scorpio, mars sign is Gemini. I don't believe in astrology, by the way ^_^. My interests are: MMT (modern monetary theory), politics, history, literature, tv-shows, movies, games, music (from epic soundtracks to gothic metal), and I enjoy walking the green and concrete. I'm a deficit owl and social progressive. I'm also pretty good at drawing. My favorite author is Garth Marenghi (look him up). My favorite comedian is George Carlin. My favorite sitcom is NewsRadio. My favorite actor is Phil Hartman. 
http://www.amazon.com/gp/product/B016QAHT60/
 

Research Interests:
Dystopian Literature, Slavery, Science Fiction, Mythical-Heroic Sagas, Utopianism, Feudalism and Lordship, Fiction, Fantastic Literature, Blood Vengeance, and Political Treachery



A Dance With Fools And Devils (Of Hate And Laughter Book 3)

https://www.amazon.com/Talking-Serban-Valentin-Constantin-Enache-ebook/dp/B00N2NYA6M/ref=la_B00N2SJD6O_1_3?s=books&ie=UTF8&qid=1485706158&sr=1-3

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