Shakespeare: Original pronunciation. Betrayal - review. Kristin Scott Thomas as Emma and Ben Miles as Robert in Betrayal by Harold Pinter, directed by Ian Rickson at the Comedy Theatre.
Photograph: Tristram Kenton for the Guardian Having rubbished Harold Pinter's Betrayal on its appearance in 1978, I seem to have spent much of my life discovering its complexities. Each production yields fresh insights. And, watching Ian Rickson's beautifully lucid and perceptive revival, I became aware how much the play deals with the shifting balance of power in triangular relationships, and with the pain of loss. Until 20 August Box office: 0844 871 7622 It is acknowledged that, by using reverse chronology to chart a seven-year-long affair, Pinter probes the corrosive nature of betrayal. All this is established. This ability to pin down the terminal moment in a relationship is even more evident in the pivotal scene in a Venetian hotel where Robert learns of his wife's affair. Howard Barker: a champion of imagination, not 'relevance'
Theatre of the imagination ...
Suzy Cooper in a 2009 production of Howard Barker's Found in the Ground. Photograph: Tristram Kenton In 2007, Arts Council England ended the life of the Wrestling School, a theatre company devoted to the work of Howard Barker, when it rejected an application for funding of a production of The Forty, the company's 24th new work. How could this happen? Barker is a world-renowned writer. Barker is a writer who provokes extreme reactions. If only he would be. This begs many questions. The company was saved by the intervention of an anonymous US benefactor, and was convinced of its immense artistic value. Perhaps in response to what has been a dramatic couple of years for the company, Barker's new play, Hurts Given and Received, which opens at the Riverside Studios in London tonight, is a characteristically dark and witty examination of artistic responsibility.
Koltès - La nuit, juste avant les forêts. Non pas vraiment mais « La Nuit juste avant les forêts » de Bernard-Marie Koltès mis en scène par Eric Castex y ressemble.
Interprété par l’acteur Azeddine Benamara, cette longue phrase rythmée ne nous lâche jamais et nous crie la difficulté d’exister en tant qu’étranger sans boulot dans une banlieue où l’on est rejeté par une société qui ne vous accepte pas. C’est cet univers qui explose ici à la figure avec une force incroyable et une humanité criante. En effet, si en 1977, la conscience de se trouver devant un grand texte est immédiate, elle est tout aussi intacte 34 ans plus tard en ces temps de mondialisation, de crise économique, de rejet de l’autre, de la montée des populismes et du Front National…Où en sommes-nous actuellement ?
Cet acteur qui s’adresse à nous sur scène, ne le croisons-nous pas de plus en plus souvent dans la rue ? Difficile d’extraire quelques paroles de ce long monologue mais essayons : « Narcisse » d'après Ovide - Répétition acte 1 sans texte. Compagnie de théâtre Andrés Cifuentes. The Complete Works of William Shakespeare. Sabato, Domenica e Lunedì di Eduardo De Filippo - Regia Toni Servillo. Eduardo De Filippo - Le Voci Di Dentro english subs.avi. Eduardo De Filippo - Filumena Marturano - (teatro divx ita).avi. Il Teatro di Eduardo Non ti Pago.mp4.