Day: March 10, 2018

Warsaw’s Teatr 21 At POLIN: Passover Is A Celebration Of Freedom

Pesach or Passover is the most widely observed Jewish holiday and arguably the most joyful. Celebrated annually in the early spring, the eight-day feast commemorates the Israelites’ liberation from slavery in Egypt and their newfound freedom as a nation under the leadership of Moses. It was in this spirit that Warsaw’s Teatr 21 originally conceived their 2016 devised work Pesach to święto wolności (Passover Is A Celebration Of Freedom) in collaboration with POLIN The Museum of the History of Polish Jews and the Open Museum project, an annual month-long program that makes information about Jewish heritage available to people with...

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“La Principessa Della Czarda”: Do You Know What Operetta Is?

Do you know what operetta is? Literally, it indicates a small opera, mostly in one act, with a tragic or comic nature. The Operetta became a proper musical genre during the nineteenth century; it designates a music show (orchestra, solos, duets, choir, dances) presented with prose dialogues, which–regardless of any severe stylization for its light mood in contrast with the serious opera and the great comic opera–finds in the frivolous and sometimes lascivious gaiety in the explosions of noisy buffoonery and in the whimsical fantasy of his stage story. It’s a kind of musical! The La Principessa Della Czarda or...

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“Y Tad” – Theatr Genedlaethol Cymru (A Welsh Translation of Florian Zeller’s “The Father”)

Terry Eagleton reminds us that in order for tragedy to occur, then the protagonist must be in search of their own complete individual identity of freedom [1]. That freedom, as I understand it, comes in multiple forms. Usually, if we begin in the Aristotelian sense, the harmatia (or, the tragic “flaw”) is that the character cannot be in control of the desired fate that (in ancient terms) the gods have set for them. In the case of Y Tad, that fate is out of the hands of Arwyn, the central protagonist of this story. As previously mentioned in my...

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Rapping While White, Surviving While Black: “Hype Man” At Boston’s Company One

The legacy of rap in America is rich with rhymes and rhymers that challenge institutionalized racism, poverty, and policing, alongside works that champion violence, explicit misogyny, and homophobia. As a form, it isn’t a monolith and playwright Idris Goodwin, with his “break beat” play series, has spent the last few years dissecting and celebrating the vastness of this genre as well as its place in the creation of American culture. Hype Man, making its premiere with Company One at the Boston Center for the Arts, is the third in this series about rap’s legacy. However, this is the first...

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