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Third Thursday: LOL MIA
We got silly with local comedians from the Theater of Public Policy.
We took part in live museum label Mad Libs.
We created our own museum comics.
We embarked on a spontaneous “tour” guided by unexpected characters.
We took in the sweet jams of Hot Freaks and Apollo Cobra.
We hung around for in-gallery comedic performances and elevator improv games.
We recorded reactions to goofy prompts in the Funny Face photobooth.
Official Beer: Summit
Music Partner: Local Current from 89.3 The Current
Event partner: Theater of Public Policy
Third Thursday: LOL MIA
We got silly with local comedians from the Theater of Public Policy.
We took part in live museum label Mad Libs.
We created our own museum comics.
We embarked on a spontaneous “tour” guided by unexpected characters.
We took in the sweet jams of Hot Freaks and Apollo Cobra.
We hung around for in-gallery comedic performances and elevator improv games.
We recorded reactions to goofy prompts in the Funny Face photobooth.
Official Beer: Summit
Music Partner: Local Current from 89.3 The Current
Event partner: Theater of Public Policy
Gedurende een periode volgt een groep jonge stand-up comedians workshops o.l.v. verschillende professionals. Ze werken aan hun act die ze de 1e vrijdag van de maand presenteren aan Den Haag. Durf jij ook? Meld je aan en doe mee! Stuur een mail naar info@culturalistheater.nl.
Meer info:
Divine Comedy 2010
Tango
Director: Jerzy Jarocki
After the Polish premiere of Tango in 1964, the play was predicted “to be played eternally” in the Polish theatre: played regularly like the bugle call from St Mary’s Tower in Kraków. One of those who assisted in the delivery of the fantastic drama, Jerzy Jarocki, returns to it 55 years later. He supplements the Mrożkian tale of “the family that turns into the society” with a history of the ideological breakdowns of the 20th century and also a discreet settling of accounts with the theatre of the bygone century. In Jarocki, one of the protagonists – Stomil – changes from an eccentric avant-garde artist into a conceptualist director who walked hand-in-hand with Kantor, Swinarski, Grotowski, Szajna, Grzegorzewski, and finally with Jarocki himself.
Artur – the young, conservative rebel – assumes the repulsive form of a member of the phalanx of politicians, pragmatist-technocrats, who believe they have acquired knowledge of the mechanisms of controlling “the uneducated rabble”. It is only chance that decides which of the rightist parties they are going to choose. Jarocki knows only too well that the wisdom of the well-read Tango comes to the floor whenever there is something important in the reality that needs naming. Therefore, the director speaks straight about what violence and power are today, and why ideologists lose. In the final scene, as always in this drama, two males – Eugeniusz and Edek – dance La Cumparsita. It is usually in this scene that the answer to the question what Tango means today is vested. After all, it is one of the most powerful image-metaphors in the history of Polish theatre. It usually has a conservative dancing with a despot, while in Jarocki, two opportunist forces meet, with either dancer pondering how to exploit the other. The cynical mentor has possibly found an ideal disciple, a subcontractor to ano-ther conservative revolution. Jarocki puts forth a hypothesis that of this alliance something will again be born in Poland.
Photography: Grzegorz Ziemiański
cliff barnett's 21st, a 'come as a favourite comedy' character event, colonel light hotel, adelaide, south australia
This episode of The Gist, a comedy series of spoofs and parodies is titled "Paranormal Investigators". Which is a spoof trailer on the ghost hunter, paranormal investigator TV shows.
A photo from an extremely funny evening at Comedy Zoo in Copenhagen.
Entertained by Simon Talbot, Jacob Wilson, Elias Ehlers & Masoud Vahedi.
Divine Comedy 2012
'Nancy. Interview' / Claude Bardouil
Photography: Michał Ramus/ www.michalramus.com
Panel discussion titled "Saturday All-Star Comedy Panel" included with Michael Moore, director Michael Schreder, John Lyons of Focus Films, director Sabina Guzzanti, and Larry Charles. Image by Gary L Howe
From People Zoo Productions comes the newly devised show 'Men Chase Women Choose' created by Sophie Giddens, Eve Shotton and Matt Holt. 'Men Chase Women Choose' is a sketch comedy show exploring women, science and sex by debunking gender myths. Using film, physical theatre and music, we will take the audience on a journey through decades of bad science. Whilst simultaneously adventuring through the female body and all it's wonders!
GMFringe July 2019: www.greatermanchesterfringe.co.uk
Edinburgh Fringe in August 2019: www.edfringe.com/whats-on/men-chase-women-choose
Divine Comedy 2012
'Nancy. Interview' / Claude Bardouil
Photography: Michał Ramus/ www.michalramus.com
Divine Comedy 2010
Tango
Director: Jerzy Jarocki
After the Polish premiere of Tango in 1964, the play was predicted “to be played eternally” in the Polish theatre: played regularly like the bugle call from St Mary’s Tower in Kraków. One of those who assisted in the delivery of the fantastic drama, Jerzy Jarocki, returns to it 55 years later. He supplements the Mrożkian tale of “the family that turns into the society” with a history of the ideological breakdowns of the 20th century and also a discreet settling of accounts with the theatre of the bygone century. In Jarocki, one of the protagonists – Stomil – changes from an eccentric avant-garde artist into a conceptualist director who walked hand-in-hand with Kantor, Swinarski, Grotowski, Szajna, Grzegorzewski, and finally with Jarocki himself.
Artur – the young, conservative rebel – assumes the repulsive form of a member of the phalanx of politicians, pragmatist-technocrats, who believe they have acquired knowledge of the mechanisms of controlling “the uneducated rabble”. It is only chance that decides which of the rightist parties they are going to choose. Jarocki knows only too well that the wisdom of the well-read Tango comes to the floor whenever there is something important in the reality that needs naming. Therefore, the director speaks straight about what violence and power are today, and why ideologists lose. In the final scene, as always in this drama, two males – Eugeniusz and Edek – dance La Cumparsita. It is usually in this scene that the answer to the question what Tango means today is vested. After all, it is one of the most powerful image-metaphors in the history of Polish theatre. It usually has a conservative dancing with a despot, while in Jarocki, two opportunist forces meet, with either dancer pondering how to exploit the other. The cynical mentor has possibly found an ideal disciple, a subcontractor to ano-ther conservative revolution. Jarocki puts forth a hypothesis that of this alliance something will again be born in Poland.
Photography: Grzegorz Ziemiański
Third Thursday: LOL MIA
We got silly with local comedians from the Theater of Public Policy.
We took part in live museum label Mad Libs.
We created our own museum comics.
We embarked on a spontaneous “tour” guided by unexpected characters.
We took in the sweet jams of Hot Freaks and Apollo Cobra.
We hung around for in-gallery comedic performances and elevator improv games.
We recorded reactions to goofy prompts in the Funny Face photobooth.
Official Beer: Summit
Music Partner: Local Current from 89.3 The Current
Event partner: Theater of Public Policy
Third Thursday: LOL MIA
We got silly with local comedians from the Theater of Public Policy.
We took part in live museum label Mad Libs.
We created our own museum comics.
We embarked on a spontaneous “tour” guided by unexpected characters.
We took in the sweet jams of Hot Freaks and Apollo Cobra.
We hung around for in-gallery comedic performances and elevator improv games.
We recorded reactions to goofy prompts in the Funny Face photobooth.
Official Beer: Summit
Music Partner: Local Current from 89.3 The Current
Event partner: Theater of Public Policy
Altitude Comedy Christmas Festival 2016. Mayrhofen, Austria
20161217. Picture by Anthony Upton
Oh My God, It's the Church, The Arena Bar Mayrhofen, Austria, during the the Altitude Comedy Christmas Festival 2016
Picture date: Saturday, December 17th 2016
#Altitude16Xmas
For further info - Please contact
Stevie@getinvolvedltd.com
Chloe@getinvolvedltd.com
Festivals@getcomedy.com
Gedurende een periode volgt een groep jonge stand-up comedians workshops o.l.v. verschillende professionals. Ze werken aan hun act die ze de 1e vrijdag van de maand presenteren aan Den Haag. Durf jij ook? Meld je aan en doe mee! Stuur een mail naar info@culturalistheater.nl.
Meer info:
Henry's interpretation of the Comedy Mask.
(see comments for Tragedy)
Scavenge Challenge April 2011 - Low-Key (I think... although it seems really bright... which confused me... but it's definitely a four-footed friend!)
Stop by the boys' blog at bztraining.blogspot.com!
I was telling my Mum about Eddie Izzard's 'Stripped' performance. Alexander evidently thought my impression of Eddie Izzard lighting a torch was *hilarious*.
Divine Comedy 2010
Babel
Director: Maja Kleczewska
The monstrous linguistic chaos of Elfriede Jelinek’s work brings to mind the Greek formula of the nekyia, the summoning of all the deceased since the beginning of the world, giving the floor to the innocent victims of war, and listening to the lame accounts of witnesses, and the ceaseless curses of the executioners. Our “so-called humanity gone mad” has built no tower of languages; on the Bydgoszcz stage, Babel assumes the form of a cemetery, a mortuary, the morgue of the Brave New World. In Babel, Kleczewska uses the notion of “post-death”, that is a death unfinished, lasting in every moment, and repeatedly blotting the line that separates it from life. It seems to be oozing out of the actors flayed live of their skins and becoming part of geometrical ice-cold cultural images of death. The play falls into three parts. In the first, we are snowed under scraps of bodies and words, we are within the dying monologues delivered by the protagonists who are already dead. The second is an intensification of the blasphemous Passion, where the laments of mothers over the bodies of dead sons: soldiers, terrorists, lovers... end in a funeral cortege chanting in an Einar Schleef-like choir Jelinek’s poetic insults. In the last scene, the plane turns into a pastiche concert of the so-called “involved, anti-war, anti-civilisation pop music”.
Photography: Tomasz Wiech