“What makes that era seem if not golden then at least more sophisticated is that by comparison, local television today, Boston included, is in the doldrums. For the declining influence of local television, and for the withering influence upon younger viewers, executives blame the internet and the profusion of cable options. A reason they do not acknowledge is that it was made easier by the decline in quality since the era.”
Author: Douglas McLennan
Opera As A Serial Episodic Experience
Vireo is the first opera designed for episodic release, both on television and online, and the culmination of an artist residency project at the Grand Central Arts Center at California State University, Fullerton. “My hopes for Vireo,” says center director John Spiak in a promotional film about Vireo’s making “is that 30 or 40 years down the line it will be seen as one of those groundbreaking things that made a difference in the artistic world. We’ve taken a live entertainment, opera,” adds the director, Charles Otte “and shot it as a piece of film, as opposed to finding an opera, staging it on a stage, and shooting it with three or four cameras.
Theatre Impresario Garth Drabinisky Banned From Being Director Of Any Public Company
The disgraced theatre mogul had run the hugely successful Livent company. “At its height, Livent produced shows including The Phantom of the Opera and Ragtime across North America, the United Kingdom and Australia. The company sought bankruptcy protection in 1998 and was sold off three years later.”
When We Care More About The Artist’s Personal Story Than The Art
The play reveals this odd, disconcerting paradox: we mythologize artists, but do so with precisely the attributes of authenticity we ironically think make them more real. It’s as if we want genuineness but don’t quite know how to grasp it. Master brings up the question of where artists actually exist in their careers — we think we see them, when they are not really there at all.
UK Creative Industries Outline Needs In Brexit Negotiations
The government must become a “global-facing” nation after it leaves the European Union, according to the Creative Industries Federation, which has set out its demands to government as Brexit negotiations commence.
Benjamin Millepied: Why Ballet Doesn’t Interest Me Much
“There’s very little ballet that I like. I’m not interested in most of what’s happening in ballet. And so I think that women have been drawn to contemporary dance because it’s a more interesting field where you can see more interesting work. It draws upon more fields of art, there are more diverse influences. I think the problem with ballet, in general, is its insularity and the education that results from that.”
“Wonder Woman” Is The Biggest Hit Of The Year. So Why Was Gal Gadot Paid Only $300,000 To Star?
That pretty staggering disparity has left many people on Twitter gobsmacked, but in truth, Gadot’s $300,000 paycheck is perfectly in line with the amount of money paid to most actors at the beginning of their superhero careers.
Study: Attractive Students Get Better Grades
“More attractive students earn higher grades when they are seen than when they are not seen,” report economists Rey Hernandez-Julian and Christina Peters of the Metropolitan State University of Denver. This result, they add, was “driven mainly by courses taught by male instructors.”
Social Media Can’t Help But Change The Way We Tell Stories, Write Fiction
“Maybe the abolition of privacy will kill the novel. But more likely, as with the invention of trains or rockets or sex, it will make it new. One of a writer’s rewards is to find himself alive in the detail of his stories, and the age of the internet provides a whole new funfair of existential provocations. In my childhood, the visiting funfair was called “The Shows”, and that is what I found when I went looking for heroes in the fiction machine, carnivalesque people who are bent of shape – by their pasts, by their ambitions or by their illusions – under the internet’s big tent. In a world where everybody can be anybody, where being real is no big deal, some of us wish to work back to the human problems, driven by a certainty that our computers are not yet ourselves. In a hall of mirrors we only seem like someone else.”
Philadelphia Orchestra Executive Director Allison Vulgamore To Step Down
Vulgamore, 59, said she will take some time to decide what to do next. She previously spent 16 years running the Atlanta Symphony Orchestra, and arrived in Philadelphia during a time of crisis. The Philadelphia Orchestra was running chronic deficits, had exhausted most of its unrestricted endowment, and had spent several months without a permanent president, board chairman, and music director before Worley took over as chairman.