#barbican center

[hyperallergic]

Zinat Moadab, Googoosh, Forough Farrokhzad, and Shohre Aghdashloo are just some of the 28 Iranian women portrayed in Soheila Sokhanvari’s series of luminous miniature portraits, currently on view in Rebel, Rebel at the Barbican Centre. 

Born in Shiraz, Sokhanvari herself fled Iran as a child a year before the Revolution and has devoted her artistic practice to the country she left behind. Her works in the exhibition bring a bygone age back to vivid life.

[sinacento]

The Barbican Conservatory, London.

[topsecretmagictvyoutube]

#Mal_Norton Magic. Top Secret Magic. From Tthe Worlds smallest Magic shop Ocean city Plymouth Barbican, with Jamie, Kris Oxland Music, Style Center Barbers Plymouth. Chris Summerfield Video and Photography since 1992. Top Secret Magic TV with Jamie and friends LOVE SummerTime TV Magazine Worldwide. It's A Lifesyle Thing.

[malnortonmagic]

#Mal_Norton Magic. Top Secret Magic. From Tthe Worlds smallest Magic shop Ocean city Plymouth Barbican, with Jamie, Kris Oxland Music, Style Center Barbers Plymouth. Chris Summerfield Video and Photography since 1992. Top Secret Magic TV with Jamie and friends LOVE SummerTime TV Magazine Worldwide. It's A Lifesyle Thing.

[lovesummertimetvmagazine]

#Mal_Norton Magic. Top Secret Magic. From Tthe Worlds smallest Magic shop Ocean city Plymouth Barbican, with Jamie, Kris Oxland Music, Style Center Barbers Plymouth. Chris Summerfield Video and Photography since 1992. Top Secret Magic TV with Jamie and friends LOVE SummerTime TV Magazine Worldwide. It's A Lifesyle Thing.

[wellourgerdes]

The Barbican Centre

The Barbican Centre, Silk Street The Barbican Centre is free to enter, regardless of whether you’re there to watch an exhibition or seek somewhere to hang out. The largest performing arts venue in Europe is located on the Barbican Estate of the City of London, England, called the Barbican Centre. The centre presents theatre productions, film screenings, art exhibitions, and concerts of both…

[youtubelovesummertimetv]

Top Secret Magic Products. The smallest Magic shop in the world possibly from the Ocean City. Plymouth Barbican. Thanks to #Mal_Norton, Jamie Top Secret Magic TV Mal_Norton Magician, Jamie and friends International , #Kris_Oxland_music. Hair by Style Center Barbers Plymouth https://my-store-cfecd7.creator-spring.com/listing/get-it-s-a-kind-of-magic?product=1566

[lgbtqpridetvinternational]

#Mal_Norton Magic. Top Secret Magic. From Tthe Worlds smallest Magic shop Ocean city Plymouth Barbican, with Jamie, Kris Oxland Music, Style Center Barbers Plymouth. Chris Summerfield Video and Photography since 1992. Top Secret Magic TV with Jamie and friends LOVE SummerTime TV Magazine Worldwide. It's A Lifesyle Thing.

Top Secret Magic Plymouth. Mal Norton | LOVE SummerTime TV Merchandise (creator-spring.com)

[arcielee]

Aōhon iksan

Summary: Daeron has come back from Oldtown to play his role in King’s Landing and marry one of the Four Storms.   Paring: Daeron Targaryen x Female!Reader (third person)  Word Count: 1183 Warnings: AFAB, sexual innuendo mentioned, kissing.  Author’s Note: This is dedicated to the lovely @harrycollettapologist who submitted this request and inspired this drabble ♥ Thank you to my amazing beta readers @aspen-carter​ and @killergirlfuria​  Also! Aōhon iksan is I am yours in Valyrian.  Tags (Tumblr kindred spirits): @aaaaaamond @sirenofavalon @annikin-im-panicin @watercolorskyy @schniiipsel @aemondx @fan-goddess @babygirlyofthevale @httpsdoll

Daeron Targaryen was the third son of King Viserys and the youngest of his siblings; yet despite how his grandsire instilled the thought that his sole purpose would be to create alliances, he seemed more of an afterthought, with the way he was sent away to Oldtown. There he remained isolated, just a squire in Lord Ormund’s shadow until word arrived that his father was dead and it was his brother who now sat on the Iron Throne. 

This ignited the dragon’s blood that burned in his veins as he returned at once aback Tessarion. He landed at the peak of Rhaenys’ Hill, the dragonkeepers rushing to assist the blue scaled dragon, alerting his grandsire of his arrival. Daeron was greeted at the barbican of the Red Keep, his mother wrapped her arms around his shoulders while his grandsire feigned the excitement of the news that his brother had just returned from Storm’s End after securing a betrothal for him to one of the Four Storms. 

He prepared himself for the namesake, but instead found himself enamored with the arrival of Lady Baratheon. 

She was beautiful, in the least, with a presence that soothed whatever room she entered, with grace to her every movement and a voice that was the soft trill of musical chimes. Lady Baratheon was the physical embodiment of a princess-to-be, but in the moments they were allowed alone, the few before the wedding, she showed him her tactful wit and sound mind, their conversation at ease between them. 

The whispers of the Red Keep fluttered about the rushed engagement, how the poor Lady Baratheon could not be afforded even the second son, but that she had to wed the third. Though he flushed with the rumors, oddly enough, she appeared to be just as intrigued with Daeron as he was with her. With the allotted time allowed together, her questions seemed genuine and she was rapt to his attention with his reply; as they were escorted back to their respective rooms, he felt himself both fortunate and flustered by her. 

A week after her arrival, it was decided to have an intimate ceremony in the Royal Sept, with only a family meal afterwards to allow them all to become better acquainted. Daeron kept his large hands folded in front to keep from fidgeting, a shyness that accompanied the lady when she came up to his side, though the soft touch of her hands to his own settled him. The Septon was monotonous and they echoed the vows, his low timbre with her melodious lilt.  

They were escorted to the small hall that glowed golden with the candle light, decorated tastefully and the table laden with a feast while the minstrels played low, but jovial, melodies while they ate.

It was almost unnerving to be back within this very room, his last memory almost a decade prior where he saw his father sitting center and his mother perched at his side. Now, his mother sat at one end while his brother, King Aegon, who proudly wore the Conqueror’s Crown since it had been placed on top of his head, was seated center with his sister-wife at his side. They were picturesque, he was regal and Helaena now seemed to exude a queenly aura that complemented her serenity. 

Aemond sat at the end, his severity etched into the sharp contours of his face and his jeweled eye gleamed in his scarred socket–Daeron only learning the day he returned that his eye had been taken. He glowered with the authority from the title bestowed by the king, Protector of the Realm, which seemed to be a cover-up from the debt of his eye repaid in blood. 

Daeron was seated by his new lady wife, who spoke with her musical diction that engaged the attention of his family, and he sat silent at her side, the always-forgotten Targaryen prince. 

In so many ways, his family had changed and grown into themselves, but some habits remained, including Aegon’s love of Dornish wine. Daeron watched his red stained lips utter a crude comment about a crude custom abolished two kings prior–his right to the first night.

There was the thought of how Targaryens were closer to gods than men and Daeron now felt the thrum of ichor curl with the fire in his veins. 

But Aemond acted first, grabbing Aegon by the scruff of his regal fabric and dragging him from the table. He saw the tears that pearled in his mother’s eyes, her regret threatening to spill, and how his sweet sister excused herself to disappear in the shadows of the Red Keep. 

Daeron stood, offering his arm to his lady wife.

It was a white fury that clouded his vision, the combination of his embarrassment, the rumors that trickled within the castle walls and the blatant disrespect shown at the dinner table. He wished to speak to her, to apologize, to take action, but instead his tongue remained swollen in his mouth, choking him. 

His automatic steps halted when the white knight broke his trance, “My prince, this way.”

Oh. The realization they were being escorted to the marital room prepared and he now found himself truly alone with his wife, the lovely Lady Baratheon. 

It was the same warm, golden hue from the candles light and that poured from the ornate hearth lit and waiting for their arrival. They both remained standing and then she moved towards the small tablet, pouring a fresh goblet and bringing it to Daeron, which he accepted numbly. 

He took a sip to wet his throat. “My lady, I want to apologize,” he began, setting down the goblet and turning to face her.

“What for?”

His tongue wet his lips as he looked to her, watching her slow, serene movements as she sat down the picture and moved towards him, one step in front of the other, her brow both knitted and elegant above her scrutinous stare. “You did nothing wrong, my prince,” she continued.

He felt his cheeks warm within her proximity. “Daeron,” he placed his hand to his chest, “I wish you to call me Daeron.”

He felt his cock twitch against the crotch of his trousers from the demure way her eyes lifted, how they watched him under her long, dark lashes, how her perfectly pink lips curled. “Yes, Daeron,” she tested his name and it was sweet like honey on her tongue. “You have nothing to apologize for, nothing has changed what happened tonight.”

He blinked, empty, almost dumb until she sweetly reminded him, “I am your lady wife now,” and her smile brightened as Daeron grew rosier with her words. “I am yours, Daeron.”

She closed what little space had remained between them, her small palm resting on top of his large hand stilling resting on his chest. Daeron felt his throat hitch from her sweet scent of lavender that curled into his chest and beckoned him to her. He tilted his head, his silver tresses spilling forward, until the tip of his nose gently touched her own.

And he kissed her. 

arcie’s masterlist

[consanguinitatum]

David in rep: 2000's The Rivals, The Comedy Of Errors and Romeo and Juliet

In the recent Putting It Together podcast - which was utterly brilliant and something you should go listen to RIGHT HERE IMMEDIATELY if you haven't already! - David mentions his rep seasons with the Royal Shakespeare Company, where he did three plays in rep. His first rep season was in 1996 (when he did The General From America, As You Like It, and The Herbal Bed). His second rep season came around in 2000-2001, when he did simultaneous runs in Romeo and Juliet, The Comedy Of Errors, and The Rivals. I recently found an amazing July 2000 article about this series of plays, and I'd like to share some of its precious informative nuggets as well as talk a bit about each production.

As mentioned, the three productions ran in rep. For you non-theatre types, that means each production would rotate nights. For example, if The Rivals was on a Monday, The Comedy of Errors might go on Tuesday, then Romeo and Juliet on Wednesday…and then the schedule would rotate back to the beginning. Get the picture? Good.

Let's begin in January 2000.

That January, David arrived in Stratford and took a flat near Anne Hathaway's cottage so he could begin rehearsals for two of the three productions: The Rivals (and his role as Jack Absolute) and The Comedy Of Errors (as Antipholus of Syracuse). He added a third role to his schedule in late April or early May 2000 when rehearsals began for his role as Romeo in Romeo and Juliet.

As you can imagine with this kind of schedule, David was soon running himself ragged. Rehearsal followed by show, followed by rehearsal…again and again and again. He had to leave some rehearsals early to do warm-ups for one of the other shows before going on. As he said in the podcast I mentioned above, this brutal schedule left him "battered." However, once all the plays went into production and left rehearsals behind, he only (only?) had to do eight shows a week and would get days off here and there. He called it "quite full on," but said it was either that or not get the parts at all.

The first of these three productions - The Rivals - began its run at Stratford's Swan Theatre from late March til early October 2000. It then ran at the Newcastle Playhouse from late October 2000 to early November 2000. Then it went to London's Barbican Theatre from mid December 2000 until April 2001.

The Rivals programmes from my personal collection - the one on the left is from the Stratford run, and on the right from the Newcastle run

The Rivals centers around the complicated relationship between Lydia Languish and strategizing young lover Captain Jack Absolute. David played the role of Jack, who pretends to be a soldier named Ensign Beverly to win Lydia's affections. He knows Lydia, a wealthy young woman who wants to marry for love, not money, would have no interest in him if she thought he were rich (more about the play can be found here).

Fans have seen some of the photos from this production: this famous photo of David in a door frame by Simon Annand is but one. The comment Mr. Annand made about his memories of that shot is also interesting, I think, and I include it here.

Other photos of this production were taken by Chris Parker, among others.

But here's where it gets good. From the article I mentioned, we are treated to these brand new photos! In the first, he's in his dressing room getting ready for his performance as Jack Absolute. In the second he's in the makeup chair getting his hair and makeup checked, and in the third, at his dressing room table taking his makeup off after a show.

The second of the three productions - The Comedy Of Errors - began its run at Stratford's Royal Shakespeare Theatre from mid April to early October 2000. It ran at Newcastle's Theatre Royal in mid November 2000, then went to London's Barbican Theatre from late Nov 2000 until early Feb 2001.

The Comedy Of Errors programmes from my personal collection - the one on the left is from the Stratford run, and on the right from the Newcastle run

David played Antipholus of Syracuse, who was raised by his father Egeon in Syracuse and is one of a set of long-separated identical twins. His mother, Aemilia, and brother, Antipholus, live in Ephesus. A of S is the only figure to whom Shakespeare grants an interior life, and his quest to find his mother and sibling comes with a series of wild mishaps based on mistaken identities (more about the play can be found here.)

But again from the article I mentioned, here are a few brand new photos of David relating to this production! In one, he's relaxing in the Green Room. In another, he's waiting to go onstage as Antipholus, and in the third, he's hanging backstage with fellow actors Des Barritt and David Troughton from Henry IV, Part 1!

The third of the three productions - Romeo and Juliet - began its run at Stratford's Royal Shakespeare Theatre from late June to early October 2000. It ran at Newcastle's Theatre Royal in mid November 2000, then transferred to London's Barbican Theatre from mid January 2001 until early March 2001.

The Romeo and Juliet Stratford run programme is from my personal collection; the Newcastle run poster is from the RSC

David played the lead role of Romeo - a role I hope I need not explain to anyone in depth? David himself wrote a lot about his experiences in the role, and if you're curious you can pop over right here to read the essay he wrote. And if you want to see a ton of photos from the production itself, the lovely mizgnomer did this extensive thread of them some time ago that you should definitely check out!

One of the things he had to do as Romeo was duel Tybalt and Paris, which meant David had to practice fight scenes in rehearsals (something he wasn't completely unfamiliar with, by the way, as he did fencing in drama school - and he was quite good at it, too). Anyway - cue this fabulous photo of David during rehearsals!

And the article also proves David can be cheeky indeed!

In rehearsals for Romeo and Juliet, the article says, it reveals it was David who suggested inserting a scene full of filthy puns into Act II, Scene I, where the hung-over Montague lads go in search of Romeo. And during another part of the rehearsal, David asks director Michael Boyd, "When I enter for this scene, do I come out of the fallopian tube?" - no doubt referring to this part of the set!

Well that's it - and oh yes, I must give credit where credit is due! All the new photos are by Robert Workman from a 2000 Scotland On Sunday article entitled, "Enter Mr. Tennant, centre stage", and all are copyrighted by National World Publishing, Ltd.

And I'd be remiss if I didn't leave you with a teeny glimpse of DT as Romeo!

[theadaptableeducator]

An ‘Ism’ Overview - Barbizon School vs. Ashcan School

The Barbican School of Art and the Ashcan School of Art were two prominent artistic movements that emerged in the United States during the late 19th and early 20th centuries. While they shared some common features, they also differed significantly in terms of their artistic approaches, subject matter, and stylistic choices. In this essay, I will compare and contrast these two schools of art, examining their similarities and differences in greater detail.

The Barbican School of Art was a movement that emerged in the early 20th century, primarily centred in New York City. It was characterized by its emphasis on formalism, a concern for the visual language of art and the exploration of color, shape, and composition. The Barbican School was influenced by the European avant-garde, particularly Cubism and Futurism, and sought to develop a uniquely American style that reflected the country's industrialization and modernization.

In contrast, the Ashcan School of Art emerged in the late 19th century, also centered in New York City. It was characterized by its focus on realism and the depiction of everyday life, particularly the gritty realities of urban existence. The Ashcan School sought to represent the city's working-class neighbourhoods, depicting ordinary people in their everyday activities and surroundings. The Ashcan School was heavily influenced by the European realist tradition, particularly the French Impressionists.

Despite their differences in subject matter and style, both the Barbican School and the Ashcan School were driven by a desire to create a distinctly American form of art. The Barbican School sought to explore the formal language of art and to create a modern, industrial aesthetic that reflected the country's changing landscape. The Ashcan School, meanwhile, sought to capture the realities of urban life in America, particularly the experiences of the working class and immigrants.

Stylistically, the two schools also differed significantly. The Barbican School was characterized by its use of abstracted forms and geometric shapes, with artists such as Charles Demuth and Georgia O'Keeffe using a precisionist style to create works that were both dynamic and precise. The Ashcan School, on the other hand, emphasized a more naturalistic approach, with artists such as John Sloan and George Bellows depicting the city's streets and neighbourhoods with a raw, unvarnished realism.

Despite these differences, both schools of art had a significant impact on American art and culture. The Barbican School's focus on formalism and abstraction influenced later movements such as Abstract Expressionism, while the Ashcan School's emphasis on realism and social commentary paved the way for the American Social Realist movement of the 1930s.

In conclusion, while the Barbican School and the Ashcan School differed significantly in terms of their subject matter and stylistic approach, both shared a desire to create a uniquely American form of art. Whether through the exploration of formal language or the depiction of everyday life, both schools of art left a lasting legacy that continues to influence American art to this day.

[chukiet19099000]

watch dogs legion - 015 : nhiệm vụ Templar Bounty Barbican Center | pc g...

[truehauntings]

ask game 🔍 🎬

🔍 - how did you first get into Lockwood & Co?

That was back in July 2013, my sister works at a bookshop and they sometimes get book samples, Lockwood & Co TSS is one of the books she gave me over the years. And since I read the first book two months before its official release, the wait for book 2 was absolutely long and painful haha, especially since the fandom was practically nonexistent at this point. The sample book doesn't even have the little cute chapter drawings by Kate Adams yet (pssst she also has an Instagram and sells prints).

🎬 - favourite behind-the-scenes pic

Oooh, there are so many good ones to choose from! But I really like the early ones, the crumbs they released during filming or because someone else took a photo or two from the set (like the ones from Chipping Camden for example or the early ones from the Barbican Center/Fittes building).

Oh, wait! The first photo of the trio is probably my favorite, in which they are laying on the bed. Where we could really see for the first time how absolutely fitting Cameron, Ruby and Ali were for the characters.

[topsecretmagictvyoutube]

Top Secret Magic Products. The smallest Magic shop in the world possibly from the Ocean City. Plymouth Barbican. Thanks to #Mal_Norton, Jamie Top Secret Magic TV Mal_Norton Magician, Jamie and friends International , #Kris_Oxland_music. Hair by Style Center Barbers Plymouth https://my-store-cfecd7.creator-spring.com/listing/get-it-s-a-kind-of-magic?product=1566

[malnortonmagic]

Top Secret Magic Products. The smallest Magic shop in the world possibly from the Ocean City. Plymouth Barbican. Thanks to #Mal_Norton, Jamie Top Secret Magic TV Mal_Norton Magician, Jamie and friends International , #Kris_Oxland_music. Hair by Style Center Barbers Plymouth https://my-store-cfecd7.creator-spring.com/listing/get-it-s-a-kind-of-magic?product=1566

[otome-asylum]

Piofiore: Fated Memories Review

From the game box's summary: "Navigate a world of organized crime. Three mafia families fight for control of Burlone City, and Lili discovers she is in the center of their deadly turf wars. Her encounters lead to danger and distraction. Drawn into this shadowy world, she realizes there is no going back..."

Piofiore: Fated Memories is an Otomate game from Idea Factory, localized by Aksys Games for the Nintendo Switch.

Overall Score: 8/10. I really liked the game in general--romanticized mafia is super fun! I loved the mafia premise and the thrill of illicit activities, haha. The love interests and side characters were excellent, too. The voice acting is fabulous! Two of my favorite VAs voice love interests: Showtaro Morikubo as Gilbert Redford (also voices Souji Okita in Hakuoki and Impey Barbicane in Code Realize) and Ryohei Kimura as Nicola Francesca (voices Kageyuki Shiriashi from Collar x Malice). Even fell in love with the voice acting of a new guy--Nobuhiko Okamoto as Yang (also does a side character's voice in Collar x Malice).

What I was not expecting was the somewhat heavy emphasis on Christianity and religion. That makes it sound a little more intense than I mean, but considering I wasn't expecting it at all...well. It wasn't the way one might expect, but it was enough that it was completely out of left field when I was expecting, you know, mafia. Honestly, had I known it wasn't just straight mafia, I might not have bought the game, but it was easy enough for me to ignore most of the time. There were some very--I mean very--minor translation issues, mainly typos, but it was good overall.

Heroine: 6/10. To start with, my opinion of the Heroine varied depending on the route. She was my favorite in Gilbert's route, and I liked her enough in Yang's, but she was kind of pitiful in the other three (not including the Finale/Henri endings; admittedly, I didn't read the Finale). Frankly, I found myself annoyed at her most of the time. It's annoying when a character that's meant to represent the reader (as a general rule) does, says, and thinks things that I never would. She has decent points at least once in most of the routes, but especially in the beginning of each route, she's so naive it makes me want to throw up. There are in-game reasons for why this is, so I understand it, but I still dislike it.

By the end of each route, she comes to terms with the fact that she's fallen in love with an incredibly dangerous man and gets over the fact that she's inadvertently complicit in organized crime, but the road to this acceptance is long and annoying. At the end of it all, she's still a bleeding heart. Not that I really thought that would change, but still. Progress.

I'm just bored to death of many otome MCs' main (and often only) strength being strength of will and/or character. Mental and emotional toughness are good, but could the MC also be useful and have more interesting qualities? Just once, I'd love to play a badass MC, who's a bit hardened, not a bleeding heart, and isn't shocked by the sight of blood... Yeesh...

Narrative: As is typical of these console games, the plot varies slightly from route to route, though there is an overarching plot. Without giving too much away, MC is Special™, and that comes out/is relevant in only 3/6 routes. All of the routes were well written, though I didn't find all of them that interesting. The overarching plot bored me to tears. I just wasn't into it. In a world of what I assumed was just your standard period mafia piece, there was a lot of weird mysticism and Christian mythology. There's not magic or anything like that, but there are sacred relics that can only be retrieved from their super secret locations with specific "ingredients," if you will. MC has one of those ingredients, and in a game where it really advertises the mafia (that's literal the entire pitch of the game, there's no mention of anything else on the game case), it feels very out of place.

I can tell they were trying to do something different with the mafia premise, and I commend the writers for that, but I think it fell a little flat. I found myself enjoying the routes where there was more of those organized crime attributes--smuggling, drug and arms dealing, counterfeiting, etc.--most, while the routes that heavily focused on MC's specialness were a slog to get through. Of course, this is my own personal opinion, so others may feel very differently. Despite that, I truly enjoyed the game and can't wait to play the sequel (fandisc)!

Love Interests: I adore these characters, period. They're all very unique and interesting, even if a few weren't my type. There are technically six love interests: Nicola Francesca, Dante Falzone, Yang, Gilbert Redford, Orlok, and Henri. Gilbert is locked until you completed Nicola, Yang, Dante, and Orlok's routes, and the Finale/Henri is locked until you complete Gil's. You don't get a feel for who Henri is at all until you play the Finale route, so I personally didn't care for him. I had no vested interest in him, so full disclosure, I mostly skipped his route...

The other characters were wonderfully varied, so I think there's a personality type to suit nearly everyone. I can honestly say that, although not all of them are for me, I can pick out a quality I like in all of them. Dante is the kuudere of the guys; Gilbert is gallant and chivalrous; Yang is selfish and craves violence (in the best way, though); Nicola is a flirt; and Orlok is the quiet, shy one. Henri is mysterious, though not in an interesting way for me, personally.

Game Mechanics: The "Status" page is difficult to understand, especially when you first start playing and have no idea what you're looking at. I had to look up how to interpret the status of the character. The more colorful the flower on the status page is, the higher the affection, and the clearer the page (in this case, how much blood spatter is visible) is related to the tolerance level. So, full-color flower and no blood spatters are very good.

I also don't love the Meanwhile side stories. While you're plaything through every story, periodically you'll get a pop-up that is sometimes automatic, sometimes optional, that takes you to a different perspective--something that's going on at the same time as the main story. I like the idea in theory, but it sometimes felt like they came at inopportune times and broke the story flow.

Music & Art Style: The music is jaunty and fun, very 1920s jazz, screams mafia, too. If that makes sense. If you decide to play it, you'll see what I mean. The art style is beautiful! It looks very similar to, if not outright the same as, Hakuoki. Since that's the game that started my love affair with these types of games, I love that it looks so similar. The CGs are gorgeous and worth collecting all of them, so 100-percenting the game is worth it. Some of them get pretty hot, too, like aaahhhhh. So 10/10 on the art!