|
|
|
|
Current NEWS, upcoming events & ARCHIVES
|
|
|
Saturday, September 27, 2008
Upper Darby, PA
The whole world in one week: New section with some of the most thought-provoking articles from around the world
As editor of News Around the World, which appears every Thursday evening since August, 2005, I read a wide range of articles from many different countries, including The New York Times, the English edition of Der Spiegel in Germany, and Haaretz in Israel. I also find helpful websites like BBC News, World Press, and Truthout.org to present articles which the main press in the United States does not always carry. In addition, friends of mine, both here and abroad, send me articles from small or local news outlets and thought-provoking or entertaining stories which could be classified as "Internet wisdom."
News Around the World also contains health items, historical references, humor, and the occasional illustration. To read some of these most challenging articles, click here. |
|
|
Tuesday, September 23, 2008
Montreal, Canada
Copernic: The Mother of all search engines
About two years ago, I translated into English excerpts of some of my father’s 2000 pages of letters that he had written from Occupied France to my mother during WWII. I then compiled the most relevant parts of those documents as part of the Metronome Ticking docudrama. Faced with the task of finding the German originals for a German version of this play, I found that neither the Google Desktop Search nor Microsoft Windows Indexing did an adequate job.
However, as soon as I had downloaded Copernic, the “mother of all search engines”—free or charge from download.com—I found everything I was searching for within seconds, without even having to scroll down as this software is so user friendly that it took me immediately to the relevant file and the relevant section with the keyword highlighted. Copernicus himself, no doubt, would have been delighted about this modern brain child from Copernic, Inc. in Montreal, another international city where both French and English co-exist, just as Copernicus connects German and Polish culture and history.
“Nicolaus Copernicus (1473 – 1543) was the first astronomer to formulate a scientifically based heliocentric cosmology that displaced the Earth from the center of the universe. His epochal book, De revolutionibus orbium coelestium (On the Revolutions of the Celestial Spheres), is often regarded as the starting point of modern astronomy and the defining epiphany that began the Scientific Revolution. His work stimulated further scientific investigations and became a landmark in the history of modern science that is known as the Copernican Revolution” (Wikipedia).
Copernic is a desktop search utility for the Microsoft Windows family of operating systems. It allows the user to instantly find a wide variety of items including documents, pictures, music, videos, e-mails, contacts, browser bookmark favourites, and entries in the Internet browser history on the computer, external drives, and network shares. After installation, Copernic creates an initial index, a process which can take up to several hours depending on the number of items to be indexed, but this is a one-time event. As items are added, changed or removed from a user's computer, Copernic Desktop Search makes incremental changes in the background using idle system resources.
The image at top left shows the Copernican universe with the image of Copernicus superimposed. At bottom left, The astronomer Copernicus: Conversation with God, a painting by Jan Matejko (1838-93). |
|
|
Friday, September 19, 2008
Media, PA
Y'all people Jewish, ain' you?: Driving Miss Daisy toward the US elections at the Hedgerow Theatre
No subject gets discussed more often and more vehemently around the world than the sharp decline of the American economy and the upcoming election between a Democratic African-American presidential candidate and his white Republican opponent. I do not know many plays that made me think of these hard and challenging times as much as Driving Miss Daisy by Alfred Uhry—a writer who intimately knows not only the Jewish world, but the tension and underlying racial currents in the United States—the only American playwright who won three of the most prestigious American awards for dramatic writing: the Academy Award, the Pulitzer Prize for Drama, and the Tony Award. The Hedgerow Theatre in Media—the first resident repertory theatre in the country— could not have chosen a better play to bring together Jewish people, African-Americans, and whites to laugh, to cry, and to talk about perceptions we may have of each other.
Temple University’s Peter Reynolds directed Driving Miss Daisy at the beautiful Hedgerow Theatre with great sensitivity, so much so that the audience at the opening night gave a standing ovation to the superb cast of the amazing Nancy Boykin as Miss Daisy Werthan, the powerful and nuanced Harum Ulmer, Jr., who played her black driver Hoke Coleburn, and the strong and handsome Andy Joos, who played Daisy’s son Boolie Werthan, a businessman in the South, and Cathie Miglionico’s, who designed the costumes, Zoran Kovcic, who created a beautiful and very functional stage setting, illuminated by the perfect lighting design of Maria Shaplin, all of which enhanced this very intimate play. [. . .]
As a college professor who conducts a weekly workshop on “ News Around the World” at Martins Run, America’s oldest Jewish retirement home, I asked myself, “and who is going to drive the many Miss Daisies and the many Hoke Coleburns of our own time to the election booth on November 4th?” To read the full text of this review, click here, or see the article on the Philadelphia Jewish Voice website. |
|
|
Wednesday, September 17, 2008
Winnipeg, Manitoba, Canada
Vienna, Detroit, Jerusalem: Thought-provoking Jewish Theatre Conferences on Three Continents
"While driving from Philadelphia to Michigan, I found it difficult to imagine a conference that could match last year's spectacular International Theatre Conference in Vienna, Austria. However, the Association for Jewish Theatre (AJT) and the Jewish Ensemble Theatre’s (JET) Artistic Director Evelyn Orbach ensured that this year’s conference in Detroit brought together some of the best Jewish and pro-Jewish theatre professionals and board members from the US and Canada, and from as far as Berlin, Sao Paulo, and Tel Aviv, who conducted many engaging workshops, eye-opening performances, challenging seminars, and one enlightening discussion after another. Because of the diversity and caliber of their work, I witnessed a range of outstanding performances and a depth of discussion that at times challenged me deeply."
Click here for the full version of my article which was published in the Fall 2008 issue of the magazine of the Association for Jewish Theatre, reviewing the 2008 conference at the Jewish Ensemble Theatre in Detroit. The photo at left—"See no evil, hear no evil, speak no evil"—shows (from L to R): Susan Lodish, Philadelphia; Laura Zam, Washington, D.C.; and Leslie Marko, Sao Paolo, Brazil. |
|
|
Sunday, September 14, 2008
Media, PA
Traveling around the world at the “Fair Trade” Live Concert: Teaching foreign languages and songs to children and teens
Media, PA, America's first "Fair Trade Town," sponsored a street fair which attracted large numbers of visitors not only to buy healthy or beautiful products from overseas that were certified as "fair trade," but also featured performances by Media Theatre artists with a "My Fair Lady Tableau" and a concert by the famous African Children's Choir, which literally brought down the main square in Media. The large choir is made up of children between the age of seven and eleven who come from poor villages in Africa. Many of the kids grew up as orphans in camps. After musical training, they tour the world for an entire year. I have seen photographs of the Queen of England and these young singers beaming at each other, the choir members entertaining famous entertainers, and even the American President hugging them at the White House. In the past, former members of the choir became teachers, physicians, engineers, etc., and contributed to life in their countries back in Africa.
I observed a number of people in the "fair trade" audience crying when they sang, and was deeply moved when perhaps an hour later, I saw all of these African children, now wearing khaki trousers and shirts, walk by in pairs, holding hands as they crossed the street. I stepped into the middle of State Street and applauded them, and quite a few of the children broke loose, ran up to me and hugged me. It was at that moment that I was fighting tears. For a photo of the African Children's Choir performing in Media, see the image at left.
Earlier that afternoon, I conducted a workshop sponsored by DCCC and the Media Theatre for children and teenagers on speaking and singing in foreign languages. I distributed a handout that I had created, which contained many links on the Internet where young people could learn languages free of charge and practice the most common phrases in French, Spanish, German, Italian, etc. We then sang "Frere Jacques" in multiple languages, including Indonesian—with dancers from the Indonesian Cultural Club (see photo at bottom left)—and also in Kiswahili. Suddenly, I spotted a former DCCC student of mine, a native speaker of Africa's most widely spoken mother tongue, and invited him and his children to join me, and, together, we sang the international round in Kiswahili and several other languages—with one of the
TV cameras rolling. For a copy of the handout that includes the links to learning foreign languages free of charge, click here. |
|
|
Friday, September 12, 2008
Media Theatre, Media, PA
From "Bly me!" to "By George, she's got it!": Coaching the cast of My Fair Lady in Cockney and upper-class English
A few years ago, Jesse Cline, Artistic Director of the Media Theatre, invited me to coach the cast of Camelot. I will never forget spending hours with King Arthur at the Media Starbucks, helping actor and singer Michael Deleget make his English sound truly royal. After the Media’s very successful production, Jesse Cline asked me to conduct another workshop, this time for the cast of My Fair Lady.
We spent an hour at the theatre’s “Crystal Room,” and I challenged the actors to introduce themselves while staying in character: speaking with either a clipped, upper-class British fashion, or with an in-your-face Cockney accent. I then gave an overview of the historical background of the Greek myth of Pygmalion—the sculptor who falls in love with his own creation, so much so that he even marries the marble sculpture—via George Bernard Shaw’s same-titled play which could not be performed in England because the famous actress, Mrs. Patrick Campbell, had a car accident. Shaw immediately translated his Pygmalion into German, which then saw its world premiere at the Hofburg Theater in Vienna in 1913, before making it onto the stage in London the following year.
To create a better understanding of the intimate link between class-consciousness and use of language in the United Kingdom, I gave some personal examples of how I got corrected by members of the ruling class when I lived in London. For example, when I used the word "dessert," I was told, "Darling, don't be so vulgar, only the middle classes talk like that! Don't you know, we call it 'pudding'!"—comments that made the American actors chuckle at the affectations of some members of the British upper class.
To this day, I cannot listen to someone from England without subconsciously ranking that person’s use of language, noticing everything from the dropping of sounds at the beginning and ending of words by quite a few members of the working class, to the very subtle Oxford stutter and the softer
use of language by only 2 to 5% of the population in England who can still be identified by their very articulate “Received Pronunciation.” By contrast, when I listen to an American speaker, I mainly hear content and a possible regional dialect, but I rarely perceive any sociolect which might denote level of education or class status.
The very talented cast of My Fair Lady then practiced both upper-class and Cockney English and did such a great job that we roared with laughter. For example, one actor introduced herself as “a bit of a gossip,” while others greeted me with a friendly, “’ello, Profeffor ‘enry!” I knew right then and there that they already had done a great deal of work beforehand, and with a bit of fine-tuning during the workshop and the rehearsals which follow, will do a spectacular job showing pronounced class distinctions through the use of English on the Media stage.
My three-page handout provides not only vivid examples from the Cockney dictionary and phrases from "How to speak proper: Victorian English," but also features links to short videos by famous actors, including Ronnie Barker, Richard Burton, Michael Caine, John Cleese, Ronnie Corbett, Rupert Everett, John Gielgud, Audrey Hepburn, Glenda Jackson, Helen Mirren, Peter O'Toole, Brad Pitt, Charlie Rose, Maggie Smith, and Kenneth Williams. I even included Queen Elizabeth II's official Christmas Broadcast of 1957 to the nation and the Commonwealth. The list of links also contains international actors who are spoofing British English, like Catherine Tate, Joyce Greenfell, Monty Python, Rowan Atkins, Yannis Pappas, a parody of the American Amy Walker doing British accents by Israeli actor Erez Asherov, and a skit mocking class-consciousness with Cleese, Barker, and Corbett. G.B. Shaw most likely would have enjoyed watching these videos. For a copy of the handout with all the links, click here.
|
|
|
Sunday, August 17, 2008
Upper Darby, PA, and wherever you are in the world
Proud dad of a one-year old: Statistical birthday party for this website
Thank you for having supported this website which is now celebrating its first birthday. Quite a few of you, both in the US and overseas, have sent most supportive and encouraging comments. I am grateful to all of you.
In ancient Roman mythology, the god Saturnus (see animation on left), from which the planet takes its name, was the god of harvest and strength, an appropriate name for the saint of this website which harvests information from the fields of education, the arts, especially theatre, and a wide range of experiences in the US and overseas.
The image of Newton’s cradle (at left) reminds me of the unknown velocities that start with the initial condition of the tabula rasa—the blank page, or in modern times, the blank computer screen—to a website where I learn a great deal from others, and together with my own thoughts and experiences, generate new ideas and share them with you, the reader. Just as the law of impacts between bodies—first demonstrated by the 17th C. French physicist Abbé Mariotte and acknowledged by Newton in his Principia Mathematica—so this website can generate a process of action-reaction, sending ideas back and forth that can mutually impact the creative process on a daily basis between readers and writers.
It’s against this background that it gives me great joy to share with you that this very young, one-year website is now moving into a new phase with some of the following innovations: a new, separate faculty webpage at DCCC, graphic animations, more theatre reviews, samples of scenes from my own plays being performed, the first video for All About Jewish Theatre which now appears on YouTube and Google Video, a slideshow, and four new archives to make it easier for you to find information: Theatre, Educational, Workshops, and Personal. In addition to nine languages, readers in the Netherlands and the Russian-speaking world will soon be able to access the information available on this website, with more machine translations, as I can find them.
Since I installed StatCounter on my webpage, I could trace the rapidly growing traffic from around the world to my website and discover which pages brought in the most readers. StatCounter currently has more than 1.5 million users and tracks more than 9 billion page views per month across its network of 2.2 million Web sites, signing up 1,500 new members per day. That explains why Alexa Internet Web Search currently lists StatCounter as the 34th-most-visited site in the U.S., ahead of household names like Adobe, Dell, and Wal-Mart, and Internet fixtures such as CNET Networks, Ask.com, and Expedia.
I wanted to find out how my one-year-old website would fare internationally, and the Alexa web ranking service showed that over the past three months, I had a 72% increase in the “percent of global Internet users who visit this site,” and a traffic rank of 9,436,662. Considering the over 176 million registered websites tabulated by Netcraft Web Server Survey as of August, 2008, it seems that my website has grown rapidly—not bad for a one-year old. If you wish to know the ranking of any website that you access, including this one, simply download, free of charge, the Alexa widget. |
|
|
Wednesday, August 13, 2008
The Adrienne Theatre, Philadelphia, PA
Elizabethan Theatre 2008: Bringing Romeo and Juliet back to life through Mauckingbird's innovative production of Joe Calarco's Shakespeare's R&J
When seeing Shakespeare’s plays,
audiences in the non-English speaking world tend to have the advantage
of
understanding every word because they are watching the Bard’s work
performed in translations that give instant access to the stories,
images, and even his language, without having to plow through obscure
Elizabethan expressions
and puns. In Germany, I grew up watching Shakespeare at the Wuppertaler Bühnen, in performances based on the Romantic-era translations by Schlegel and Tieck of
the 1820’s. Years later, seeing the original Shakespeare
performed in England came as a shock to me. Even though I knew the
plot very well, I struggled to understand the lines being spoken while
seeing Romeo and Juliet in London.
Since that time, I have seen more
Shakespeare productions than that of any other playwright, especially
in Britain and the US. Quite a few of the directors tried innovative
approaches to give viewers access to a language that is considered
archaic and needs almost as much of a study as learning a foreign
language. In spite of these often very original approaches by
contemporary theatre professionals, I still have observed people in the
audience nodding off and only responding when strong physical gestures
or unusual props accompanied the spoken lines. I sometimes get a sense
that Shakespeare's works have been placed in a mausoleum with velvet
curtains, his dramas displayed as famous corpses that have been embalmed and decorated
according to the whims of modern funeral directors who try to bring the
dead back to life. The audience is often expected to sit in silence and admire
the master of English drama and passively accept the legacy of the
greatest writer of the English language, but without seeing Shakespeare
really come alive.
Sitting at the Adrienne Theatre during the Mauckingbird production of Joe Calarco’s Shakespeare’s
R&J, mesmerized by Maria Shaplin's lighting design which transformed the stage into a magic world,
I felt as if I had morphed into Alice in Wonderland’s older brother who had fallen
into a rabbit hole and saw a Shakespeare as I had never seen before. To read the complete review, click here.
|
|
|
Saturday, August 9, 2008
Hedgerow Theatre, Media, PA
You just won an arts lottery and have two choices:
Go to London for 3 days and see 1 Cooney play, or get 6 great shows each season for 9 years at the Hedgerow Theatre
You just won in an arts lottery and have a choice: Either (1) winning a cheap, three day deal on Priceline, going from Philadelphia to London on American Airlines and staying at the Holland Court Hotel for three nights and getting one ticket to a Ray Cooney show (Tom, Dick, and Harry at the Duke of York theatre in London’s West End) for a total of $1160, or (2) winning a subscription to the Hedgerow Theatre
in Media with six shows of your choice each year for the next nine
years with at least one Ray Cooney show per summer where you can laugh
your head off, won’t get aggressively searched by airline security, and
don’t have to wait in line for many hours. Which of the two prizes would you accept?
Those of us who enjoy British drawing-room comedy, especially entertaining farces by Ray Cooney like There Goes the Bride (which he co-wrote with John Chapman) would definitely prefer to spend a delightful evening at the Hedgerow Theatre, an equity house and America’s oldest continuously operating repertory theatre. Zoran Kovcic’s
stage design turned the old grist mill into an elegant scene out of the
Wedgewood Studios, with different shades of blue, matched by Cathie Miglionico’s exquisitely designed costumes, and directed with Penny Reed’s trademark élan that combines elegance and humor.
Ms. Reed knows how to tickle one’s funny bones through a wide palette
of nuanced movements, gestures, and facial expressions by the
actors—above all Anthony Marsala
as Timothy Westerby, who could be described as a mixture of an elegant
jester and a bungling chameleon, a perfect match for his straight-laced
wife, the exquisitely beautiful Sonja Robson, and her mother, the always engaging Susan Wefel, whose every movement, every facial expression, and every word brought out howls of laughter from the audience.
As someone who teaches international accents for students at the Media Theatre, I was particularly intrigued by the way a cast member reached out to Australia to find a language coach via Craigslist. Jim Fryer—who
played Mr. Babcock, the Australian father-in-law—shared the process of
finding a vocal coach who would help him acquire an Australian accent. He posted a notice on Craig's List/Sydney under "Talent," entitled: “Yank needs to hear Aussie accent (Philadelphia, PA).”
He proposed sending his lines from the script, and having the
Australian actor record it as a WAV file, compensating him with a $30
gift certificate. Fryer received the following reply from a drama student in Sydney: “G'day, I'm a 24 year old male with an interest in acting/comedy. I could read these lines for you mate. I currently am at uni and we are in our exam period, but I could have something to you when that finishes. Cheers, James Brechney.”
Fryer reports that he received a file a week later with both a heavy and a light authentic Aussie accent. The seasoned American actor even cited the young Aussie actor as his vocal coach in the program.
Who knows: as part of this intercontinental theatre collaboration among
actors, we might see more actors around the world contact each other
via Craigslist—to the benefit of theatergoers at the Hedgerow or any
other theatre where local actors need to switch into a foreign accent.
The
Hedgerow Theatre frequently presents plays where the audience knows
that they will be entertained, but on this day, the Artistic Director
Penny Reed and her husband, the multi-talented Zoran Kovcic, appeared
on stage and surprised the audience even more when they shared that
this evening they were celebrating their 27th wedding anniversary. The audience applauded with great enthusiasm, now ready to watch There Goes the Bride.
I just talked to the Artistic Director at the Hedgerow Theatre, and she
very much liked the idea that people could take out a subscription for
nine years at today’s price, provided you contact her ASAP—a real
bargain compared to the rapidly rising prices in the airline industry,
not to mention the hotel costs. In short, you get the better deal by far at the Hedgerow Theatre in Media.
At top left, you can see Sonja Robson as Ursula Westerby, Caryn Miller as Judy Westerby, and Jim Fryer as Charles Babcock.
At bottom left, Susan Wefel as Daphne Drimmond, Anthony Marsala as Tim Westerby, and Sonja Robson.
|
|
|
Saturday, August 9, 2008
Upper Darby, PA and Tel Aviv, Israel
Launched on Google Video and YouTube: My informational film, commissioned by AAJT
All About Jewish Theatre, the world's largest secular synagogue and open University
I’m delighted about the launching of my video entitled, All About Jewish Theatre, the world’s largest secular synagogue and open university. Last year, Moti Sandak, the Director of the International Institute of Jewish and Israeli Culture in Tel Aviv, and Chief Editor of AAJT, commissioned me to produce a personal video for a fundraiser. Since that time, I have updated the script and integrated many new historical images and graphics to encourage viewers worldwide to use the AAJT’s rapidly growing website for Jewish theatre arts. The new video is now available on YouTube, Google Video, and will soon appear on the AAJT website as well.
I enjoyed writing the script, especially as it brought back my many years of teaching film and TV script writing in Chicago and Santa Fe, NM. Working with videographer Aaron Schumann of Philadelphia on October 28, 2007 (see Theatre Archive) only enhanced the experience of producing this video. However, as the first version had to be produced under tremendous time constraints, I promised Moti Sandak a rewritten and enhanced version.
Little did I know that dozens and dozens of rewrites were necessary, let alone finding photographs that matched the text 100%. At times, it took up to three hours to google just one image. However, with perseverance and a bit of serendipity, all the images came together, and Aaron very patiently presented one new version after another, based on my many edit requests. Finally, I went to visit him in his new studio, and found that sitting next to an editor with two large screens in front of us seems to be a lot easier than having to type out and describe in detail the minutest of changes where often split seconds count so that text and image become one unit that seamlessly blend in with the next scene.
I hope that this final version will bring in many more viewers. I consider AAJT the leading source of research and theatre news in the world, a very important website which provides comprehensive coverage of Jewish Theatre worldwide. The AAJT website receives more than 150,000 readers per week from over 100 countries, a number that I hope my informational video can help grow even larger.
|
|
|
Friday, August 8, 2008
Beijing, China, via satellite from 8:00 PM to midnight
The greatest international show on earth, minus Tibet: Opening ceremonies of the 2008 Olympics
After many months of often daily reports about the oppression of minorities in the People's Republic of China, especially Tibetans who are deprived of living their own culture, and who have been brutally suppressed by the Chinese government for years, the opening ceremonies of the XXIX Olympiad were advertised as "the greatest show on earth."
As I do not watch television anymore, I lucked out when my neighbors invited me to watch the international spectacle at their home. Even though I have seen extraordinary performances around the world by some of the best theatres, Cirque du Soleil, and other creative groups that try to reach the audience in new ways, nothing compared to the creativity and precision of the thousands of artists at work at the Bird's Nest, the main stadium in Beijing where the opening ceremonies took place. I was particularly moved by the photographs of children from around the world that were projected onto large screens and by the Chinese flag bearer—the 7’6” tall Chinese basketball player Yao Ming—who walked side by side with Lin Hao, the nine-year-old earthquake survivor who freed himself from the rubble of his school before returning to rescue two of his classmates. Later, the Chinese giant took the little boy in his arm like a father would carry his child, and the cameras would not let go of that very human image.
While I was very happy to see all these references to humanity and togetherness, to the Olympic spirit of fairness and peace, I could not help but think of the brutal oppression of the people of Tibet. Nobody around the world was allowed to enter China if they had participated in pro-Tibetan demonstrations, and no one in the very large audience carried any flag of Tibet, as Chinese security forces saw to it that the image of harmony would not be disturbed. When I saw Chinese soldiers goose-stepping for quite some time while first carrying the Chinese flag and then the Olympic flag, I was eerily reminded of the images of the Olympics in 1936, where another minority was brutally suppressed: No German-Jewish athletes were allowed to participate and the police made sure that nobody would demonstrate in the presence of Hitler and the world press.
I left my neighbor's house filled with a strange mixture of joy and excitement about the wonders that Chinese artists had created, in awe of their art, in awe of their discipline, and the joy in the faces of 1000’s of athletes from around the world who marched into the arena with their countries flag before the gigantic Olympic flame was ignited. However, I also thought of the absent children, the absent sportspeople from Tibet and other parts of China—in short, I felt elated and depowered, aware that for millions of Chinese, the opening ceremonies represented the power of their country and its potential, but I feared that the majority of Chinese are probably unaware of the pain that many other people were experiencing when watching the start of the Olympic Games—not only in Tibet.
|
|
|
Friday, August 8, 2008
Tyme Gallery, Haverford, PA
"Inner Essence": 11th Annual juried exhibition at the Tyme Gallery
As I was teaching another workshop on International languages and English with foreign accents at the Media Theatre, wearing my Indian kurta and an old vest from Kashmir, several people at the juried exhibition at the Tyme Gallery thought that I was an artist and asked me which of the artworks I had painted. I had to disappoint them, telling them that I can't paint. Rather, I paint on the computer through my website. As always at the Tyme Gallery, one can meet the most interesting people all year round, especially on the second Friday of each month when gallery owner Edna M. Davis, a good friend of mine, presents a new theme, attracting often dramatically different crowds of people each month, depending on the subject matter or genre. I do not know of any gallery owner in Philadelphia who welcomes people personally and introduces artists to gallery visitors as charmingly and with as much graciousness as Edna.
This year's entries came from New York, New Jersey, Delaware and from all over Pennsylvania. The first prize of this year's juried exhibition went to Joe Watt's oil painting "Into the Light." Dennis Goldsborough won second place with his watercolor about a plant, called "Preacher," and third prize went to Harris J. Sklar for his photograph about a grandfather and his grandson in Brooklyn, “The Smile
Tells It All,” with an honorable mention to Don Nicholson of Bryn
Mawr for his oil, titled, “Spring Morning."
|
|
|
Friday, August 8, 2008
Media Theatre, Media, PA from 9:30 AM to Noon
From Flamenco and greetings around the world to "Flossing with Shakespeare: International languages and dialects":
Two workshops for groups of Media Theatre summer camp students
Every year, the Media Theatre invites me to conduct workshops on international languages in dialects, where the children not only learn how to sing a song in German, French, Spanish, Hebrew, Arabic, Italian, and Kiswahili, but they also learn to speak English with a working class British accent, an upper class British accent, and English with a German and French accent. Perhaps even more importantly, the children, aged 6 to 10 and 11 to 16, learn about other cultures and learn the importance of respecting others in their difference—for me, one of the most exciting moments when I hear children greeting each other with "Salaam" one moment and "Shalom" the next.
This year, in addition to role playing scenes that I have written for these workshops, I showed short videos that created resting points for an otherwise very entertaining, high-energy program. For the younger kids, I showed a video of Christopher Reeve on the Muppet Show which presents a very entertaining version of the famous soliloquy "To be or not to be." Afterwards, I asked them how many of them had never flossed their teeth. Several students raised their hands, and I shared with them that according to the research, one can live seven years longer on average if one flosses their teeth twice a day. I then distributed floss for everyone except for those kids wearing braces, and we all recited part of Hamlet's soliloquy while flossing our teeth, much to everyone's amusement, and the children with braces learnt to act as if they were flossing their teeth.
For the older students, I showed humorous videos, and the one that brought out the most laughter was a satire on the use of foreign languages in the workplace: Catherine Tate pretending to be a translator who speaks some of the world's foreign languages, when in reality, she doesn't speak any of them, but carries it through convincingly nonetheless. As an assignment, I asked the children to show my four page handout to their parents and to use the various web links I had provided to further their language skills. I also asked the older group to speak with a foreign accent for a few days with their friends to get into the pattern. At the end, all the children came and shook hands, saying goodbye in any language of their choice, with the Australian "G'day" being one of the favorites.
I am grateful to Roger Ricker and Tim Haney for organizing the theatre camps each summer, and to all the young counselors who make sure that the children are really paying attention and that their voices are being heard, especially Connor Brian and Eric Larsen, both of whom helped me present the various videos. |
|
|
Thursday, August 7, 2008
Upper Darby, PA
Horrified and delighted, all at once: From the Gestapo to the latest use of this webpage
I noticed that week after week, the "Responses and Reviews" page to my docudrama Metronome Ticking brought in more guests than almost any other page on this website, and I was puzzled because this play, important as the subject matter of the Holocaust is, could not have reached a worldwide audience in just a few months’ time. When the many hits from overseas did not stop, I used StatCounter’s tools to conduct a detailed search on the Internet traffic on this site. To my dismay, I found that during just the last few days, users from countries ideologically as far apart as Canada, Chile, Denmark, Egypt, Finland,Indonesia, Iran, Italy, Mongolia, Philippines, Russia, Saudi Arabia,Singapore, Spain, Thailand, Turkey, and even the US had logged onto my website exclusively looking for a photograph of “Gestapo Headquarters.” I had used that image to illustrate a scene from Metronome Ticking. It shows Heinrich Himmler, head of the SS and the Gestapo, standing next to Ramón Serrano Súñer, the Spanish foreign minister and brother-in-law of General Franco, on his visit to Berlin in the early 1940's.
Out of the hundreds of photos on my website, why did these users want to view a picture of one of the worst architects of the Holocaust, a man responsible for the murder of millions of people, including Jews, gypsies, homosexuals, mentally retarded, Russians, Poles, Communists, and people from many other groups? I wondered if these visitors to my site were historians, or people fascinated by the Gestapo for less benign reasons. After analyzing the source of the site traffic, I found that interest in Himmler, the Gestapo, and the SS apparently is so great that people as far apart culturally as the Islamic Republic of Iran Defence Forum and the Italian popular culture magazine Il Mucchio both took the photo and posted and circulated that image on their forums.
I am concerned that the horror of the Holocaust may be trivialized, and worse, that images of the Third Reich may even lead to a kind of revisionist view of one of the most brutal regimes in the 20th Century. It’s against this background that I value the work done by organizations like the Anti-Defamation League, which monitors Neo-fascist and other anti-democratic movements. At the same time, I also value the work of the American Civil Liberties Union, which supports anyone who wants to study and express views that may run counter to any prevailing ideologies.
The picture at left above shows a beautiful visualization of the various routes through a portion of the Internet. Considering the pathways that users could have taken to get to my website, I hope that they will use any information and images from this site—including the picture at lower left—in responsible and ethical ways.
|
|
|
Wednesday, August 6, 2008
Media Theatre, Media, PA
Young singers with a great future: DelCo Idol 2008 competition
The DelCo Idol contest, modeled after the highly successful American Idol, has become so popular that it’s now running in its third year. To represent as wide a range of the community as possible, every week a different set of judges supported the two key judges: Jesse Cline, Media Theatre Artistic Director; and Debbie Calton, WMGK Classic Rock 102.9 FM. For the final, well-known people from the entertainment world and national politics joined the ranks of the judges: Sandy Stefanowicz of Mike Lemon Casting; Jen Boyette, CN8, producer and on-air personality for Comcast Newsmakers; State Representative Tom Killion, R-168; and U.S. Representative Admiral Joe Sestak, D-7.
The audience made me think of the very animated crowds at bullfight arenas in Spain, except that whole groups of people at the Media Theatre, in addition to shouting for their favorite singers, also waved banners and flags. In some ways the audience became part of the show, often encouraged by the entertaining Jeff Cadorette of Media Real Estate, who emceed the finale of the competition.
Initially, several hundred young people had applied. Of those, 40 were selected to actively participate, and each week, several of them were eliminated from the competition, though encouraged to come back the following year. Finally, only ten candidates, the best young singers in Delaware County, remained, including: Jamie Lee Grady, Hannah Phillips, Sarah Rigle, Gina Santare, and Caitlin Ward, each of whom gave a wonderful performance.
After the first half of the performance, the judges worked feverishly to determine the top five finalists, who were announced with great fanfare after intermission: Steven Calakos, Meredith Kearney, Audra McLaughlin, Kyle McNamara, and Janet McWilliams. One could literally feel the tension in the audience when chairs were brought up on stage and all five sat down, observing each other in their final effort to grab the top prize. Given the pressure on the young singers, I was impressed by the strength that each displayed, knowing full well that only one person would win the honor, the $1000, and numerous interviews on radio and TV.
After the last song, the judges again disappeared. Jesse Cline had asked me to entertain the crowd with the results of a raffle by announcing the prizes, namely, four sets of two tickets to the upcoming Media Theatre production of My Fair Lady. I took the microphone and a Greek flag, which the Calakos family and fan club had been waving the whole evening. I told the audience how much I liked Greece and the surrounding countries in Europe, and how generous I thought the Media Theatre was in having donated two tickets to go to Greece, only a week ago. The crowd seemed to get excited at the idea of winning more tickets to Europe until I shared with them that I had checked and found that last week, the people did win a visit to “Greece,” except it was spelled G-R-E-A-S-E, the musical. The audience roared with laughter and I told them that this time they would win a trip to England, via My Fair Lady. To make up for the misunderstanding, I raffled off a one-hour consulting session with me for anyone who would like to write a children's book or work on a film.
And then the moment came when the Emcee announced the winners: Third place, and best male singer, Steven Calakos; second place, Meredith Kearney (bottom left), an extraordinary singer with great dignity; and first prize to the multi-talented Janet McWilliams (top left), who even during her freshman year at Villanova was asked to play leading roles in their musicals. I had a sense that Janet was truly surprised that she had been chosen as the most promising singer in DelCo, especially as this was her third attempt—proof that perseverance and further training often pay off. In the end, many people agreed that the Media Theatre had helped talented young people take another step forward in pursuing their musical dreams.
|
|
|
Sunday, August 3, 2008
Upper Darby, PA
Moving forward: Unblocking creative people
When I wore my first baseball cap, I felt very American. Now, wearing a tee shirt advertising my rapidly growing website and especially my consultancy service "Unblocking Creative People," I could not help but smile, as I felt like a walking billboard--America, here we come. Paraphrasing the old English saying "If the mountain will not come to the prophet, the prophet will go to the mountain,"--a phrase that goes back to Chapter 12 of the Essays by Francis Bacon in 1625, and made popular by Charlotte Bronte's Jane Eyre in 1847--I found that to reach blocked people, one has to let them know that they can move forward in very constructive and creative ways.
I have worked with professionals who got stuck for many years, starting in Chicago in the 1980's when I worked with groups and individuals. To enhance my work, I trained at the Oasis Institute in Chicago--the midwestern equivalent of the Esalen Institute in California--where people learned to let go of pretending that everything was all right, and instead learned to identify their needs, for example, writing stories, biographies, or even plays.
Some of my clients who took film and TV script writing workshops with me and learned about marketing strategies which they had to apply in front of representatives from the film industry in Chicago and later Santa Fe, NM, led to published books, including The Complete Air Guitar Handbook by Johm McKenna (published by Simon and Schuster's Pocket Books division in 1983), and Irwin Myers recent four-disc set entitled Psychic Smarts: Think Sharper. Work Smarter. Live Better (published by the Wellness Engine). Some professionals were so busy with their work that they hired me to work as their ghostwriter, not only for numerous speeches at professional conventions around the country, but also in rewriting their books.
For more information on the range of services I offer, feel free to look at the consulting page of this websitewebsite, especially the page that describes in detail the methods I am using to help people become unblocked and to move forward.
|
|
|
Sunday, July 27, 2008
New York, NY
From murder and living at the edge of human existence to the healing power of theatre and creativity:
Out of shame, into forgiveness, toward freedom
At the theatre congress of the Association for Jewish Theatre (AJT) which took place in Vienna last year, I saw Brenda Adelman reenact the tragedy in her own life almost as if she were a one woman troupe straight out of Hamlet's famous play-within-a-play scene. Many people in the audience cried when they were confronted not only with the horrendous murder of the playwright's mother by her own father—who then married the victim's mother—but by the aftermath: the effect that the murder had on her roller coaster life which followed. I was so moved by her honesty and willingness to address some of the most intimate aspects of life, not to mention her performance, that I used my review of Brenda Adelman's story in My Brooklyn Hamlet to start the section on tragedy in my article, "Beauty and Terror, Seen Through the Kaleidoscope of Jewish Theatre: International Aspects of the World Congress of Jewish Theatre in Vienna, Austria, March 2007."
To my delight, I found that the young woman who had experienced more pain than probably most of her contemporaries had not only found a new center of creativity through her play writing and acting, but she had also found a new convocation as a counselor, with workshops and discs, entitled Forgiving the Unforgivable: The Path to Freedom.
I was happy to see that Brenda had chosen to quote part of my article on her website: "We were taken to the edge of human existence . . . Brenda Adelman's My
Brooklyn Hamlet, relived her mother's murder by her father (who then
married the victim's sister), a drama that created a classical Greekcatharsis in a modern Brooklyn setting." On a lighter note, I was intrigued to see that the Ophelia-like victim had become a survivor, a woman stronger than Hamlet, who could never make up his mind: Brenda Adelman, by contrast, could now be considered the libertated Ophelia at the court of Male Chauvinism.
|
|
|
Saturday, July 12 to Tuesday, July 22, 2008
Miami Art Museum, Miami, FL
Shadows, Disappearances, and Illusions: Walking into the future at the Miami Art Museum
Just before my return flight to Philadelphia, I went to visit the Miami Art Museum and saw their Shadows, Disappearances and Illusions exhibition. Some of the artworks there left me cold, but others made me think, for example, COOPER, an artist who had filmed his legs walking into timelessness. Another artist had an exhibition of green laser beams deep inside a labrynth, however, when I saw a warning not to look directly into the light I only looked at the display from a short distance, not ready to walk into the artwork itself as I wasn't quite sure how safe that experience would have been. Perhaps one of the most moving experiences for me when visiting museums are those attempts by some artists to reach their audience directly, whether through their paintings, sculptures, and installations, or through texts in which they describe what art means to them and what they hope to achieve in the viewer: "The viewer, thoroughly ensnared in each artist's visual trap, is forced to examine the world with new eyes" (Daria Brit Shapiro).
The catalogue of the exhibition perhaps described the intent best: "Using various tricks of light, perspective and erasure, the artworks in
Shadows, Disappearances and Illusions each short-circuit the connection
between the eye and the brain. They make us question what it is we are
seeing and make us acutely aware of our role as viewers, allowing us to
come away from the experience thinking different thoughts and asking
different questions. The experience of art becomes not an affirmation
of existing values, but a refreshment of the mind, the eye and the
spirit that leads us to view the world around us with new eyes. Artists
in the exhibition include Elizabeth Cerejido, Joseph Cornell, Magdalena
Fernandez, Felix Gonzalez-Torres, Mark Handforth, Oscar Muñoz, Maria
Martinez-Cañas, Regina Silveira, and Lorna Simpson. Among the
exhibition’s highlights [are] specially commissioned installations
from several Miami artists, including Tom Scicluna, Matt Schreiber, andWendy Wischer."
At upper left you can see the entrance to the Miami Art Museum; at lower left, Regina Silveira's sculpture "Escada Inexplicavel 2" (Inexplicable Staircase 2), 1999. For one of the many reviews about this unique exhibition, click here.
|
|
|
Saturday, July 12 to Tuesday, July 22, 2008
Miami harbor, Miami, FL
Viewing the homes of the rich, the famous, and the infamous: Island Cruise of Millionaire's Row and Fisher Island, Miami harbor
If the West Coast has Hollywood, the East Coast features an equally large number of spectacular homes of the rich, the famous, and the infamous in Miami's harbor, which offers them instant access to their private yachts, especially on Fisher Island, which is only accessible by boat or helicopter. According to the U.S. Census Bureau, Fisher
Island had the highest per capita income of any place in the United States in 2000. Once a one-family island home of the Vanderbilts,
and later several other millionaires, today, Fisher Island is occupied by a very exclusive, wealthy, and international community, including tennis players André Agassi and Boris Becker, singer Ricky Martin, actress Julia Roberts, talk-show host Oprah Winfrey, and only 462 other residents. I wonder where their cleaners, maids, and cooks reside.
I took an evening cruise on the Island Queen, and was thrilled to see some of the most beautiful homes that one could possibly imagine, but I was also highly amused by the bilingual staff on the boat who made funny comments about the various celebrities while playing music from their films, TV shows, or albums, including singers Gloria Estefan and Julio
Iglesias, basketball player Shaquille O'Neal, and notorious
gangster Al Capone. For example, the theme song from Scarface blared out of loudspeakers when we saw the house where they filmed the Al
Pacino classic.
We were all highly entertained on the boat by the rapid shift in music and comments which either admired those celebrities or poked fun at them and their foibles. The most spectacular mansion apparently belonged to a former President of the Pfizer pharmaceutical company, or in the words of the announcer, "the man who gave men the little blue pill." However, when the announcer told us that this man was not a multi-millionaire, but a multi-billionaire, a young fellow sitting next to me asked his Russian immigrant dad what that meant, and his father told him point blank that we had just seen the home of the man who "pushed Viagra." I cannot recall what music they chose to represent Viagra, but I'm not too sorry about it because my thoughts wandered off, getting a better understanding of why Americans have to pay more for their medical insurance than any other country in the Western world.
The evening ended with the beautiful downtown
Miami skyline at its best, shining, glimmering, and with a cool breeze bringing some relief to an otherwise humid, hot, and oppressive atmosphere in Florida. Perhaps the one thing I'll remember the most is the comment by the announcer that he had worked on this tour daily for nine years, and one mansion remained dark all these years except for one light in one room. I had visions of Victorian novels being played out in Biscayne Bay to this very day. |
|
|
Saturday, July 12 to Tuesday, July 22, 2008
Vizcaya Museum and Gardens, Miami, FL
Visiting an American Versailles: Vizcaya Museum and Gardens
On my last visit to Paris,tourists had to wait for many hours before gaining admittance to and being rushed through Versailles, probably the world's most spectacular chateau. At Vizcaya, the smaller American equivalent of the historic French landmark, we did not have to wait at all, perhaps because many tourists in Florida want more popular entertainment rather than looking at art from Europe, and walking around a little palace built between 1914 and 1922 for the American industrialist James Deering, a man so rich and famous that John Singer Sargent painted a portrait of him.
"Vizcaya, an estate or villa in a North Italian sixteenth-century style on Biscayne Bay in Miami, Florida, was designed for Deering as a winter residence. The estate originally consisted of 180 acres, including the main house, formal gardens, extensive lagoon gardens, and a village that serviced the property. The main house was built between 1914 and 1916, while the construction of the complicated gardens and the village continued into the early 1920s.
Vizcaya is noteworthy for adapting European cultural traditions to Miami's subtropical landscape. The house, for example, combines European marble and Floridian limestone while the Italianate gardens rely on plants capable of thriving in Miami's climate. Deering used Vizcaya from 1916 to the time of his death in 1925. Deering's advisor in creating the estate was Paul Chalfin, a curator and decorative painter who helped Deering assemble artworks and architectural elements for the project. Chalfin recommended the architect F. Burrall Hoffman to design the house and other buildings on the property. The gardens were designed by the landscape architect Diego Suarez.
The name Vizcaya derives from the Basque province of the same name, which overlooks the Bay of Biscay as Vizcaya overlooks Biscayne Bay. Records indicate that Deering wanted to perpetuate the notion that Vizcaya was a mythical explorer and he favored the caravel (a ship associated with the Age of Exploration) as one of Vizcaya's primary symbols. A representation of the mythical explorer "Bel Vizcaya" welcomes visitors at the entrance to the property" (source: Wikipedia entry on Vizcaya). The tour guide did an outstanding job in explaining how the estate came into being, with its thousands of wonders in marble, oil, and silk, collected by an industrialist who surrounded himself with young architects, designers, and landscapers, some of whom apparently did not make a great career in spite of their talents because most people feared financial ruin if they hired designers with the extravagent tastes on the scale of the mansion in Coral Gables. Looking back at the experience, I have a sense that James Deering and King Ludwig II of Bavaria--who built the famous Neuschwanstein Castle--had a lot in common.
|
 |
Everglades, Miami, FL
Hunting for wild animals in the Florida Everglades: Befriending real alligators, with hesitation
The heat and the humidity in Florida hit even some of the most seasoned Floridians. However, as I had bought a Go Miami! card—saving substantial amounts on local attractions—I was determined to leave the comfort of the air-conditioned Intercontinental Hotel and visit as many of the tourist spots as possible, including the famous Everglades. Tourists from Germany, Spain, | | | | | |