Sadly we've reluctantly had to cancel this workshop, due to flu. The 'show must go on' idea doesn't really work if you feel as if you're on another planet. My apologies, but I do hope to leave planet flu soon, with a welcome return to familiar surroundings and activities.
So many great actors, musicians have left the earthly stage this year – Billie Whitelaw amongst the most recent departures.
I remember her being directed by Samuel Beckett at the Royal Court Theatre in London (he’d invited me to a rehearsal of Happy Days). I was the only one in the audience. It was very intimate, nobody else was there in the theatre. Beckett directed her like a musician – every single nuance of pronunciation of the words, articulation of the sentences was rehearsed in detail, with the same precision that a good conductor has regarding attack, rhythm, tempo, relative volume, pace. When I attended the complete performance, I was struck by the different colour of Billie Whitelaw’s voice throughout the second part of the play, a change of timbre which was so effective that it continues to intrigue me musically in all sorts of ways. At times you can hear something similar in great pianists, who can completely change the timbre of a quiet piece they are playing, by a subtle control of touch. Presenting filmed extracts from my first opera The Kingdom at the Hornsey Library screening recently, has prompted CaribbeanAntillean, a new website which brings together past experiences of Haiti, Jamaica and Cuba. This vast region is
separated by language, but is united by the rich and multifarious CaribbeanAntillean culture. In CaribbeanAntillean you'll find dynamic scenes from Haitian life by artist Zula Verna, a version of Doors of the Spirits, an extract from Haitian Summer, and the visual polyphonies of light in Games at the Edge, shot in various locations in Jamaica. To reach CaribbeanAntillean please click on the drawing above. 25th October Doors of the Spirits opens the Urban/Rural Landscapes programme, curated by filmmaker and sound artist Chris Lynn - the eighth year of his highly successful part of the Utopia Festival in Maryland: http://framingsounds.com/category/screenings/ 23rd October. A very successful first screening of the recently edited extracts from The Kingdom at Hornsey Library, and a warm welcome from librarian Vicky Orekoya, who hosted the event.
A large screen provided a vivid experience of scenes from the opera, together with excellent sound, installed by Sterling Rodgers. The screening was followed by an animated audience discussion in which many ideas for re-staging the opera were put forward, as well as suggestions for future screenings. It was agreed that these events should take place beyond the limits of Black History Month, as The Kingdom, and the novel by Alejo Carpentier The Kingdom of This World, on which the opera is based, deal with a period which is part of African, Caribbean and European histories. A French member of the audience told me that in France the Haitian Revolution and French involvement is taught in schools. For centuries the British were also actively involved in maintaining and profiting from slavery in multiple locations in the Caribbean, including in San Domingo, but this key part of the past, the Haitian Revolution, is not taught in British schools. But by an extraordinary coincidence, the Haitian Revolution was the subject of Melvyn Bragg’s In Our Time programme on BBC Radio 4 on the same day as the screening of extracts from The Kingdom. The wonderful librarians at Hornsey Library in Crouch End have invited me to present a new edition of extracts from the film of the Amsterdam production of The Kingdom, on Thursday 23rd October at 7pm (free entry). The production was directed by the theatre director and choreographer Rufus Collins, when he was based at the Engelenbak Theatre in Amsterdam. Rufus Collins A member of the Living Theatre and much involved in the Sixties counterculture, Rufus Collins appeared in several of Andy Warhol’s films, Screen Tests (1964-66), Couch (1964), and Kiss (1963), in the latter film with the artist and filmmaker Naomi Levine. Alejo Carpentier I based the libretto for the opera on the novel about the Haitian independence movement, The Kingdom of This World, by the Cuban writer and musicologist Alejo Carpentier, who lived at various periods in Havana, in Paris, and in Caracas, Venezuela. Carpentier was a friend of Surrealist poet Robert Desnos, who helped him to escape Cuba, after he’d been imprisoned during the dictator Gerardo Machado’s regime. In Paris, Carpentier met many artists, other writers, poets and musicians, including Pablo Neruda, Asturias, Picasso, and Amadeo Roldán, with whom he organised Cuban premieres of works by Stravinsky and Poulenc. Carpentier’s book Music in Cuba, placed him at the heart of the Afrocubanismo movement. He also wrote an essay on Edgard Varèse, a composer also influenced by Latin-American music, who remains for me a strong influence. C.L.R. James I found an important source of historical information about the Haitian Revolution in C.L.R. James’ famous book The Black Jacobins, from a Caribbean bookshop in Brixton. James was born in Trinidad, where he wrote stories drawn from ‘barrackyard’ life, in which he found a combination of the everyday and the mysterious which fascinated him, a combination which also fascinated Carpentier, an early example of what came to be known as ‘magic realism’. As a young man, James left for England, where he worked with Learie Constantine on the famous cricketer’s autobiography, and he also became cricket correspondent for the Manchester Guardian. He met various English writers, including the poet Edith Sitwell. Leonard and Virginia Woolf, at their Hogarth Press, published his pamphlet about West Indian independence. James wrote a play about Toussaint l’Ouverture, which was performed in the West End with Paul Robeson in the lead role. James left England to live in the US, working in left-wing politics. On a visit to Coyoacan in Mexico, he met Trotsky, and the painters Diego Rivera and Frida Kahlo. After travels in the West Indies, and in newly independent Ghana, he lectured and taught at various American universities, followed by an active retirement in Brixton, London. More information http://ocatilloaudiovisual.weebly.com/the-kingdom.html for information about The Kingdom, including reviews of performances. My presentation of the new edition of extracts from the film of the opera will be at Hornsey Library, at 7pm, on the 23rd October. Tel. 0208 489 1118. Free entry. Check it out on
https://www.youtube.com/watch?v=H3MKifg1MYY An Encounter on Windy Island, famed home of The University of Wind Congratulations to Philippa Brewster, Senior Editor at I.B. Tauris.
She has just won the Outstanding Contribution to Publishing Award from the Kraszna-Krausz Foundation. In her interview after winning the award, she mentioned that one of the publishing highlights at I.B. Tauris had been Eisenstein on the Audiovisual: "Robert Robertson’s book on Eisenstein on the Audiovisual really represents one of my preoccupations in being an editor. It really stretches the field." |
links
|