Ay voz secreta del amor oscuro ¡ay balido sin lanas! ¡ay herida! ¡ay aguja de hiel, camelia hundida! ¡ay corriente sin mar, ciudad sin muro! ¡Ay noche inmensa de perfil seguro, montaña celestial de angustia erguida! ¡ay perro en corazón, voz perseguida! ¡silencio sin confín, lirio maduro! Huye de mí, caliente voz de hielo, no […]Read more "Ay voz secreta del amor oscuro"
I had the luck and privilege to attend the last full dress rehearsal of Theatre Practice’s Four Horse Road last night, March 24, 2020. I was free. Literally, freed, released, cut, or retrenched. There’s no other way to call it such when your entire industry goes dark. My rehearsals had been cancelled, because the show […]Read more "Day 0. Standing By."
As an observer of Southernmost and writing this response essay, I found myself asking a nagging question – Why should a handful of international artists gather, spending our carbon footprint, to verbalize and analyse the experience of meeting the Other?
I propose two frames in this essay to help deepen the analysis of my question: 1) Tranculturalism; and the more cynical sounding 2) clash of civilisations.Read more "An Essay about Southernmost Festival 2019"
Excerpted from Svetlana Klimenko (2003) Shakespeare, Chekhov and the Emergence of the Transcultured Self in Denmark, Language and Intercultural Communication, 3:2, 151-157, DOI: 10.1080/14708470308668099 ” I use the term transculture as it was put forward by Russian scholar Mikhail Epstein, who introduces it in the following way: The quality and merit of culture is its capacity […]Read more "On Interculturalism and Transculturalism"
Creating Oreste by Ifigenia was an experiment of sorts for me. Almost a month later, after sorting through my own thoughts, stewing in the joys and disappointments, the praise and the putdowns, sit I must to reflect on an experiment that I am not completely confident of. And with candour I proceed. As with all […]Read more "About Orestes by Ifigenia"