NYCPlaywrights April 13, 2024
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NYCPlaywrights
Apr 13, 2024, 5:09:52 PMApr 13
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Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
GRAAAHR!
A wild, original play presented by CUPAL and The Sti Cazzi Players. Jean Harlow! Billy the Kid! Some guy named Mikey!
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
Spellbinder Magazine seeks short plays for Summer 2024 issue
We pay a £3 honorarium to each accepted contributor after print publication.
***
This year, 938collective will be hosting its second annual short play festival on Friday, June 14, and Saturday, June 15, at 8:00 PM. What makes our short play festival model unique is its invitation to respond to a theme and collaborate with artists across all backgrounds and identities.
In anticipation of our event, we leave prospective playwrights with a breadcrumb in verse:
Girls and boys, come out to play,
The moon doth shine as bright as day
Leave your supper, and leave your sleep,
And come with your playfellows into the street.
***
The Page 73 Playwriting Fellowship provides a year of comprehensive support to one early-career playwright who has not received a professional production in New York City. Through this program, Page 73 provides artistic and financial resources to this writer as they develop one or more new plays of their choosing. The Page 73 Playwriting Fellow receives an unrestricted award of $20,000, a development budget of $10,000 managed by Page 73 and the Fellow over the course of the Fellowship year, and at least one workshop culminating in a public reading.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** PERDU DANS LA TRADUCTION | LOST IN TRANSLATION ***
At the Comédie-Française, Costa’s “Macbeth” edits the two dozen named characters down to only eight actors and leans heavily into religious symbolism.
In “Hamlet,” Jatahy goes so far as to keep Ophelia alive. Far from going mad, Ophelia climbs down from the stage and exits through the auditorium after declaring: “I died all these years. This year, I won’t die.”
More...
https://www.nytimes.com/2024/04/03/theater/paris-macbeth-hamlet-shakespeare.html
***
Voltaire, stuck as he was in the ways of classical literature, found Shakespeare's works to be "grotesque" and "contrary to good taste." But he also admitted that the English playwright was, at times, "sublime."
Voltaire's mixed feelings are emblematic of a relationship — between Shakespeare and his later French counterparts — that was always more than a bit complicated. "He was a savage with some imagination," Voltaire wrote in a letter in 1765.
Shakespeare's posthumous influence helped free early romanticism and then romanticism from the classical straightjacket of classicism, as acknowledged in 19th-century essays by Stendhal and later Victor Hugo. Why? Because Shakespeare broke all the rules of French classical theater. That's also, of course, why others loathed him.
More...
https://worldcrunch.com/culture-society/shakespeare-and-the-french-a-long-and-tempestuous-relationship
***
The piece has a strong critical dimension of what we now call the Anthropocene – a thought which, by placing humans at the center of the world, has contributed to legitimizing the domination of beings and the destruction of living things. Believing that he is able to govern everything, Macbeth finds himself confronted with this “enactment” of the forces of nature, with this walking forest! Shakespeare tells us here that it is inevitable to be afraid in the face of the force of nature, which escapes and exceeds us...
More...
https://www-radiofrance-fr.translate.goog/franceinter/la-comedie-francaise-en-direct-au-cinema-avec-macbeth-de-shakespeare-le-25-avril-2024-a-20h10-2523632?_x_tr_sl=fr&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp
***
Importantly, ideological and artistic rewriting has especially affected the translation of Shakespeare’s plays for the stage. Jean-François Ducis was the first to translate Shakespeare for the stage (three of his translations are available at SBT). His translation of Hamlet was the first and only version of the play to be performed in eighteenth-century France, and it played at the Comédie Française from 1769 to 1852. The play was translated in alexandrine verse, suppressed the ghost as well as the gravediggers, and considerably reduced the number of violent deaths. The characters were transformed into sensitive heroes torn between love and duty, reminiscent of Corneille’s tragedies. The play was also suffused with pathos, causing Hamlet to shed many tears and threaten suicide. Hamlet did not die at the end of the play as popular taste could not suffer the death of the hero. Likewise, Ducis’ Romeo and Juliet and Macbeth watered down Shakespeare’s plays as the plots and situations in the plays were believed to be too extreme for French sensibilities. And yet, Ducis’ translations are not to be dismissed as they made Shakespeare’s drama worthy of being staged in France, instead of restricting knowledge of his plays to a small, elite readership.
More...
https://www.shakespeare.org.uk/explore-shakespeare/blogs/shakespeare-and-translations-french/
***
In Christiane Jatahy's show, the young man has in fact become a mature woman – just as tormented as he is by the faults of the past, aspiring just as much to change the future. At the same time, Gertrude (his mother) and Ophelia (his fiancée), here ghosts or projections of Hamlet's desire, share his intimacy, push him to confront the past and relive history - and to change theirs, at the same time. Through a dizzying putting in the abyss where past and present intersect, the three women, bearers of the experience of Shakespearean tragedy, “sing, dance, shout, live and overflow this story”, to affirm the possibility of another future. As in a documentary, the camera is both the tool in the quest for truth and a weapon of defense: what resources can we draw on to take action and overthrow the tyrant? And the tragedy of Shakespeare comes from meeting the question that runs through all of Christiane Jatahy's theater: identifying the levers of change.
More...
https://www.theatre-odeon.eu/fr/saison-2023-2024/spectacles-2023-2024/hamlet-23-24
***
Why Shakespeare Could Never Have Been French
Shakespeare sounds a certain way. Why? And why could it only work in English? • Written with Gretchen McCulloch of Lingthusiasm! Her podcast has an episode about how translators approach texts: https://lingthusiasm.com/post/6320866...
https://www.youtube.com/watch?v=dUnGvH8fUUc
***
The cute rom-com What’s Your Number is France’s Sex List, the slow movie A Short History Of Decay turned into the tempting Sex Therapy, and the mysterious thriller Tangled… well it turned out to be, right, Sex Trouble! One can only be surprised that the recently released horror comedy Cocaine Bear appeared in French cinemas not as Sexy Bear, but simply Crazy Bear.
More...
https://www.boredpanda.com/movie-posters-french-twitter/
*** FREE THEATER IN NYC ***
GRAAAHR!
A wild, original play presented by CUPAL and The Sti Cazzi Players. Jean Harlow! Billy the Kid! Some guy named Mikey!
GRAAAHR is a howling ride, an homage to the Beat poets, and an ode to the power of fantasy. And it's raunchy. That being said...Content Warning: Strong sexual themes, imagery, and language! Ooh la la!
April 26 ~ 7:30 PM
April 27 ~ 2:00 PM
April 27 ~ 7:30 PM
The Diana Center
3009 Broadway New York, NY 10027
https://www.eventbrite.com/e/graaahr-tickets-881410782377?aff=ebdssbdestsearch
April 26 ~ 7:30 PM
April 27 ~ 2:00 PM
April 27 ~ 7:30 PM
The Diana Center
3009 Broadway New York, NY 10027
https://www.eventbrite.com/e/graaahr-tickets-881410782377?aff=ebdssbdestsearch
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
Spellbinder Magazine seeks short plays for Summer 2024 issue
We pay a £3 honorarium to each accepted contributor after print publication.
***
This year, 938collective will be hosting its second annual short play festival on Friday, June 14, and Saturday, June 15, at 8:00 PM. What makes our short play festival model unique is its invitation to respond to a theme and collaborate with artists across all backgrounds and identities.
In anticipation of our event, we leave prospective playwrights with a breadcrumb in verse:
Girls and boys, come out to play,
The moon doth shine as bright as day
Leave your supper, and leave your sleep,
And come with your playfellows into the street.
***
The Page 73 Playwriting Fellowship provides a year of comprehensive support to one early-career playwright who has not received a professional production in New York City. Through this program, Page 73 provides artistic and financial resources to this writer as they develop one or more new plays of their choosing. The Page 73 Playwriting Fellow receives an unrestricted award of $20,000, a development budget of $10,000 managed by Page 73 and the Fellow over the course of the Fellowship year, and at least one workshop culminating in a public reading.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** PERDU DANS LA TRADUCTION | LOST IN TRANSLATION ***
At the Comédie-Française, Costa’s “Macbeth” edits the two dozen named characters down to only eight actors and leans heavily into religious symbolism.
In “Hamlet,” Jatahy goes so far as to keep Ophelia alive. Far from going mad, Ophelia climbs down from the stage and exits through the auditorium after declaring: “I died all these years. This year, I won’t die.”
More...
https://www.nytimes.com/2024/04/03/theater/paris-macbeth-hamlet-shakespeare.html
***
Voltaire, stuck as he was in the ways of classical literature, found Shakespeare's works to be "grotesque" and "contrary to good taste." But he also admitted that the English playwright was, at times, "sublime."
Voltaire's mixed feelings are emblematic of a relationship — between Shakespeare and his later French counterparts — that was always more than a bit complicated. "He was a savage with some imagination," Voltaire wrote in a letter in 1765.
Shakespeare's posthumous influence helped free early romanticism and then romanticism from the classical straightjacket of classicism, as acknowledged in 19th-century essays by Stendhal and later Victor Hugo. Why? Because Shakespeare broke all the rules of French classical theater. That's also, of course, why others loathed him.
More...
https://worldcrunch.com/culture-society/shakespeare-and-the-french-a-long-and-tempestuous-relationship
***
The piece has a strong critical dimension of what we now call the Anthropocene – a thought which, by placing humans at the center of the world, has contributed to legitimizing the domination of beings and the destruction of living things. Believing that he is able to govern everything, Macbeth finds himself confronted with this “enactment” of the forces of nature, with this walking forest! Shakespeare tells us here that it is inevitable to be afraid in the face of the force of nature, which escapes and exceeds us...
More...
https://www-radiofrance-fr.translate.goog/franceinter/la-comedie-francaise-en-direct-au-cinema-avec-macbeth-de-shakespeare-le-25-avril-2024-a-20h10-2523632?_x_tr_sl=fr&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp
***
Importantly, ideological and artistic rewriting has especially affected the translation of Shakespeare’s plays for the stage. Jean-François Ducis was the first to translate Shakespeare for the stage (three of his translations are available at SBT). His translation of Hamlet was the first and only version of the play to be performed in eighteenth-century France, and it played at the Comédie Française from 1769 to 1852. The play was translated in alexandrine verse, suppressed the ghost as well as the gravediggers, and considerably reduced the number of violent deaths. The characters were transformed into sensitive heroes torn between love and duty, reminiscent of Corneille’s tragedies. The play was also suffused with pathos, causing Hamlet to shed many tears and threaten suicide. Hamlet did not die at the end of the play as popular taste could not suffer the death of the hero. Likewise, Ducis’ Romeo and Juliet and Macbeth watered down Shakespeare’s plays as the plots and situations in the plays were believed to be too extreme for French sensibilities. And yet, Ducis’ translations are not to be dismissed as they made Shakespeare’s drama worthy of being staged in France, instead of restricting knowledge of his plays to a small, elite readership.
More...
https://www.shakespeare.org.uk/explore-shakespeare/blogs/shakespeare-and-translations-french/
***
In Christiane Jatahy's show, the young man has in fact become a mature woman – just as tormented as he is by the faults of the past, aspiring just as much to change the future. At the same time, Gertrude (his mother) and Ophelia (his fiancée), here ghosts or projections of Hamlet's desire, share his intimacy, push him to confront the past and relive history - and to change theirs, at the same time. Through a dizzying putting in the abyss where past and present intersect, the three women, bearers of the experience of Shakespearean tragedy, “sing, dance, shout, live and overflow this story”, to affirm the possibility of another future. As in a documentary, the camera is both the tool in the quest for truth and a weapon of defense: what resources can we draw on to take action and overthrow the tyrant? And the tragedy of Shakespeare comes from meeting the question that runs through all of Christiane Jatahy's theater: identifying the levers of change.
More...
https://www.theatre-odeon.eu/fr/saison-2023-2024/spectacles-2023-2024/hamlet-23-24
***
Why Shakespeare Could Never Have Been French
Shakespeare sounds a certain way. Why? And why could it only work in English? • Written with Gretchen McCulloch of Lingthusiasm! Her podcast has an episode about how translators approach texts: https://lingthusiasm.com/post/6320866...
https://www.youtube.com/watch?v=dUnGvH8fUUc
***
The cute rom-com What’s Your Number is France’s Sex List, the slow movie A Short History Of Decay turned into the tempting Sex Therapy, and the mysterious thriller Tangled… well it turned out to be, right, Sex Trouble! One can only be surprised that the recently released horror comedy Cocaine Bear appeared in French cinemas not as Sexy Bear, but simply Crazy Bear.
More...
https://www.boredpanda.com/movie-posters-french-twitter/
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