James Franco On Adapting Faulkner’s As I Lay Dying

“When [the characters are] speaking to each other, they speak as early-20th-century farmers. It’s fairly realistic. But underneath, in the inner monologues, … they speak in ways that these characters would never articulate. … Maybe they could feel as deeply but they would never use this diction. So we came up with was the split-screen: that would give the feeling of multiple perspectives.”

In Spain, A Protest Opera Against Austerity

El crepusculo del ladrillo (“Twilight of the Brick”, alluding to the final opera of Wagner’s Ring cycle) “takes on Spain’s ongoing economic crisis, which started to unfold in 2008 after the country’s real estate bubble burst. The story involves a village seduced into property ownership and consumerism before imploding in chaos. Despite the tragic subject matter, the tone is surrealist and often comic.”

To What Extent Can Merce Cunningham’s Dances Be Preserved?

John Cage once described his partner’s art as “less like an object and more like the weather” – which doesn’t stick around over time. Lizzie Feidelson, the granddaughter of Merce’s first student, writes about the “dance capsules” assembled by the Merce Cunningham Trust to preserve and license his works – and considers what such documentation can, and cannot, record.

The Manuscripts Of Timbuktu: A Post-Occupation Progress Report

“An unintended consequence of the Islamist occupation of the city has been a renewed global focus on the priceless manuscripts, which although mostly written in Arabic also include centuries-old writings in Greek, Latin, French, English and German. But while the Ahmed Baba Institute is painstakingly working to preserve preserving this history, other manuscripts in Timbuktu are faring less well.”