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Here are a few photos from last night’s Barrel Full of Laughs Comedy Club at The Nog Inn, Wincanton.
The Nog is a fantastic place for a comedy night. The room is perfect for it, with a low ceiling and intimate feel making for a great atmosphere. I’ve been three times now and it just keeps on getting better...
Divine Comedy 2010
Knives in Hens
Director: Weronika Szczawińska
The Olsztyn version of Harrover’s drama, popular on Polish stages, resembles a new linguistic theatrical experiment rather than a study in women’s alienation. Its director discovers a true semantic treatise under the feature and psychological layer of the text. Three actors are placed within an empty, white space. Words and notions are written out on the walls. With the help of letters and pictograms, the protagonists make attempts to decipher the sense of life and the world. What betrayal means, what the constituent elements of jealousy are, what love is, what a woman is, and who a man may be. Emotions become separated from words, the text of the role assumes the form of a complex language code. What notions are taken to form a hero? At the beginning of the play, the Ploughman, deserted by Wife who chose the Miller, uses the wall to writes the fundamental equation: “horse, field, woman = entire me”. In this world, the task of the Miller is to spoil the inscriptions, change the meanings of words by obscene word endings and drawings. In the thus formatted world, love must also assume a written form. And suddenly everything is like in Greenaway’s Pillow Book: a naked man is writing on a naked woman. This means: now you are mine, you are a sheet of paper that I may fill with writing as I want, and once I am done, I will create you anew. Another production by Weronika Szczawińska, where the laboriously discovered, radical and new form affords a different sense to a well-known work.
Photography: Grzegorz Ziemiański
Rob gets up on stage to open the show. Hanks Saloon runs a Dive Comedy show every Wednesday night starting from 8 PM. I wasn't too sure what to expect when I showed up and I was half planning to just leave when Rob's act was over...but I'm glad I stayed for the whole thing!
The Dive Comedy show at Hanks' is really an intimate venue where comedians can try out new material with a live audience so they can tweak it. I think it's great because it's almost like open mic (but with like actual professional comedians). There were about 6-8 different comedians all performing with material at different stages so I got to see acts which ranged from brand new, to diamond-in-the-rough to nearing polished and ready for prime time.
I really admire them because I think it takes a lot of guts to get up there and tell jokes, not knowing whether they're going to fall flat or not. And so much of it is really dependent on the audience...I have to say a lot of the references quite frankly went over my head - some jokes were really targeting NYC/Brooklyn audiences with neighbourhood specific references and I was a bit like "huh?!". I also really liked Allison Castillo's set and will see if I can catch anything else she's doing while I'm here.
It was also really awesome because we all got free chocolate cake with peanut butter cream icing at the end (definite perk)! Plus it's such a small venue that you can actually go up to people at the end and talk to them. I am totally going to miss places like this in Sydney.
Divine Comedy 2010
Knives in Hens
Director: Weronika Szczawińska
The Olsztyn version of Harrover’s drama, popular on Polish stages, resembles a new linguistic theatrical experiment rather than a study in women’s alienation. Its director discovers a true semantic treatise under the feature and psychological layer of the text. Three actors are placed within an empty, white space. Words and notions are written out on the walls. With the help of letters and pictograms, the protagonists make attempts to decipher the sense of life and the world. What betrayal means, what the constituent elements of jealousy are, what love is, what a woman is, and who a man may be. Emotions become separated from words, the text of the role assumes the form of a complex language code. What notions are taken to form a hero? At the beginning of the play, the Ploughman, deserted by Wife who chose the Miller, uses the wall to writes the fundamental equation: “horse, field, woman = entire me”. In this world, the task of the Miller is to spoil the inscriptions, change the meanings of words by obscene word endings and drawings. In the thus formatted world, love must also assume a written form. And suddenly everything is like in Greenaway’s Pillow Book: a naked man is writing on a naked woman. This means: now you are mine, you are a sheet of paper that I may fill with writing as I want, and once I am done, I will create you anew. Another production by Weronika Szczawińska, where the laboriously discovered, radical and new form affords a different sense to a well-known work.
Photography: Grzegorz Ziemiański
Audience members work on their tin foil hats.
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From the idea of the maks of the comedy and tragedy I came up this sketch where I tried to contrast the monochromatic with the colorful.
Divine Comedy 2010
Persona. Simone’s Body
Director: Krystian Lupa
The scandal that accompanied the premiere production (One of the actresses, Joanna Szczepkowska, rebelled against the director, showed her naked buttocks to the spectators, made a Nazi greeting gesture, and later long explored the meanings of this performance in the media), somehow overshadowed somehow the intentions of Krystian Lupa. And yet Simone’s Body is the second part of the Persona diptych. The play opens in the same space as the previous part: this time the sound stage, where Marilyn Monroe took shelter from the world, plays the role of the rehearsal stage, where a young, eccentric director is getting ready to put on a production on Simone Weil. The philosopher is to be played by a Bergmanesque character, Elizabeth Vogler, an actress who returns to the profession after 30 years of “silence”. The heroine doubts whether it is fair to make a play on Simone against her, with contempt for her theses, and disbelieving her honesty. Nevertheless, the rehearsals start, and the director and his collaborators provoke a long improvisation – a psychodrama especially for Elizabeth. It is as if a trip into the interior of one of the dreams described by Weil is to be a trap for the actress. It is to coerce her into an uncontrolled reaction, to kindle her senses, and to compromise her own perception of Christianity and the person of Weil.
As is his style, Lupa enters deeply into the intimacy of his actors, talks them into emotional transgressions, and provokes extreme situa-tions.
Photography: Grzegorz Ziemiański
The Comedy Carpet by artist Gordon Young and Why Not Associates is a 2200m2 artwork at the foot of Blackpool tower featuring songs, jokes and catchphrases
© 2014 Tony Worrall
Divine Comedy 2010
Knives in Hens
Director: Weronika Szczawińska
The Olsztyn version of Harrover’s drama, popular on Polish stages, resembles a new linguistic theatrical experiment rather than a study in women’s alienation. Its director discovers a true semantic treatise under the feature and psychological layer of the text. Three actors are placed within an empty, white space. Words and notions are written out on the walls. With the help of letters and pictograms, the protagonists make attempts to decipher the sense of life and the world. What betrayal means, what the constituent elements of jealousy are, what love is, what a woman is, and who a man may be. Emotions become separated from words, the text of the role assumes the form of a complex language code. What notions are taken to form a hero? At the beginning of the play, the Ploughman, deserted by Wife who chose the Miller, uses the wall to writes the fundamental equation: “horse, field, woman = entire me”. In this world, the task of the Miller is to spoil the inscriptions, change the meanings of words by obscene word endings and drawings. In the thus formatted world, love must also assume a written form. And suddenly everything is like in Greenaway’s Pillow Book: a naked man is writing on a naked woman. This means: now you are mine, you are a sheet of paper that I may fill with writing as I want, and once I am done, I will create you anew. Another production by Weronika Szczawińska, where the laboriously discovered, radical and new form affords a different sense to a well-known work.
Photography: Grzegorz Ziemiański
Divine Comedy 2010
Persona. Simone’s Body
Director: Krystian Lupa
The scandal that accompanied the premiere production (One of the actresses, Joanna Szczepkowska, rebelled against the director, showed her naked buttocks to the spectators, made a Nazi greeting gesture, and later long explored the meanings of this performance in the media), somehow overshadowed somehow the intentions of Krystian Lupa. And yet Simone’s Body is the second part of the Persona diptych. The play opens in the same space as the previous part: this time the sound stage, where Marilyn Monroe took shelter from the world, plays the role of the rehearsal stage, where a young, eccentric director is getting ready to put on a production on Simone Weil. The philosopher is to be played by a Bergmanesque character, Elizabeth Vogler, an actress who returns to the profession after 30 years of “silence”. The heroine doubts whether it is fair to make a play on Simone against her, with contempt for her theses, and disbelieving her honesty. Nevertheless, the rehearsals start, and the director and his collaborators provoke a long improvisation – a psychodrama especially for Elizabeth. It is as if a trip into the interior of one of the dreams described by Weil is to be a trap for the actress. It is to coerce her into an uncontrolled reaction, to kindle her senses, and to compromise her own perception of Christianity and the person of Weil.
As is his style, Lupa enters deeply into the intimacy of his actors, talks them into emotional transgressions, and provokes extreme situa-tions.
Photography: Grzegorz Ziemiański
Divine Comedy 2010
Knives in Hens
Director: Weronika Szczawińska
The Olsztyn version of Harrover’s drama, popular on Polish stages, resembles a new linguistic theatrical experiment rather than a study in women’s alienation. Its director discovers a true semantic treatise under the feature and psychological layer of the text. Three actors are placed within an empty, white space. Words and notions are written out on the walls. With the help of letters and pictograms, the protagonists make attempts to decipher the sense of life and the world. What betrayal means, what the constituent elements of jealousy are, what love is, what a woman is, and who a man may be. Emotions become separated from words, the text of the role assumes the form of a complex language code. What notions are taken to form a hero? At the beginning of the play, the Ploughman, deserted by Wife who chose the Miller, uses the wall to writes the fundamental equation: “horse, field, woman = entire me”. In this world, the task of the Miller is to spoil the inscriptions, change the meanings of words by obscene word endings and drawings. In the thus formatted world, love must also assume a written form. And suddenly everything is like in Greenaway’s Pillow Book: a naked man is writing on a naked woman. This means: now you are mine, you are a sheet of paper that I may fill with writing as I want, and once I am done, I will create you anew. Another production by Weronika Szczawińska, where the laboriously discovered, radical and new form affords a different sense to a well-known work.
Photography: Grzegorz Ziemiański
COLLECTION RECORD
Title - Comedy and Tragedy
Relation - Education in Democracy
relation.type - pendantOf
relation.notes - High School Graduates; Knowledge the Solution of the Problem; School Activities; Forever Panting and Forever Young; Sports Frenzy; American Rhythm
Work, Collection or Image - Collection
refid - 179
Work Type - mural paintings (visual works)
Style Period -
Agent Name - Daugherty, James Henry (American painter, illustrator, and author, 1889-1974)
Agent Role - muralist (painter)
Cultural Context - American
Material, medium - oil paint (paint)
Material, support -
Technique -
Measurements -
Date Created -
Date Completed -
Date Collected -
Date Allocated -
Date Rejected -
Location Former Repository - Music Room, Stamford High School, Stamford, Connecticut
Description -
Inscription -
Subject - Education; Study and diversion; Theater (discipline); Federal Art Project
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name - La Roche, Karl
Agent Role - photographer
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 8 in (H) x 10 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-04-29
Description -
Inscription -
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 1.
Filename - wpaart_daugherty_005