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hello-french-canadian-cinema · 6 years ago

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Late to the Party - International Recognition of Quebec Cinema

In May 1939, the Canadian federal government created The National Film Commission (soon to be known as the National Film Board), to assist the Government Motion Picture Bureau. The purpose of the film commission was to “make and distribute films designed to help Canadians in all parts of Canada to understand the ways of living and the problems of Canadians in other parts.” During this time period, films were made by Canadians, for Canadians. As I mentioned in my last blog entry, filmmaking at that time included a lot of propaganda in order for the government to push their ideals onto their citizens. However, in 1950 the Canadian Parliament established The National Film Act, which was created “to initiate and promote the production and distribution of films in the national interest and, in particular, to produce and distribute films designed to interpret Canada to Canadians and to other nations.” (National Film Board of Canada.)

Lipsett

In the 1960s, Montreal born Quebecois director Arthur Lipsett started gaining traction beyond the province of Quebec for his avant-garde experimental filmmaking and sound techniques, and was backed by the National Film Board of Canada. “Regarded by some as the Film Board's "boy genius" during his early years at the NFB,' Lipsett was able to make "experimental" films that were widely distributed by the Board and shown-and awarded prizes-at American and European festivals. In 1964, for example, 21-87 was voted "most popular film" at the Midwest Film Festival in Chicago.” (Wees, 2007). 21-87 ��is an jarring short film, just clocking in over 9 minutes. Lipsett used scrap footage he found while working as an animator at the National Film Board of Canada and combined it with his own footage taken on the streets on Montreal and New York City. Various snippets of people talking, singing, chanting, as well as various types of sound, play over the images. It can be difficult to immediately gauge a meaning behind the film, typical of many avant-garde films of the 1960s, but the themes of humanity, machinery, death, and religion are routinely brought up. Between all of the footage shot by Lipsett himself, we see cadavers being cut open, robotic tools working, and a host of other strange images. The themes of humanity, institutionalization, family, innocence and death are all themes that have appeared in every movie I have watched while studying French Canadian cinema and are all themes I noticed in 21-87.

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21-87

Both Stanley Kubrick and George Lucas have named Arthur Lipsett as a role model. Kubrick asked Lipsett if he would create the trailer for his movie Dr. Strangelove. Lipsett, who suffered from mental illness and ended up committing suicide in 1986 at age 49, declined, and Kubrick directed the trailer himself, but acknowledged the influence Lipsett had over the style. “After his Academy Award nomination, [Lipsett] received a letter from British filmmaker Stanley Kubrick. The typewritten letter said, ‘I’m interested in having a trailer done for Dr. Strangelove.’ Kubrick regarded Lipsett’s work as a landmark in cinema – a breakthrough. He was interested in involving Lipsett. This didn’t happen, but the actual trailer did reflect Lipsett’s style in Very Nice, Very Nice.” (Perreault, 2012).

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George Lucas was so influenced by Lipsett’s film 21-87, that the title is reflected in various “Easter eggs” in much of Lucas’ work, including in A New Hope, where Princess Leia is trapped in cell 2187. Lucas also payed homage to many of the images featured in 21-87 by recreating them in his Star Wars films, such as the inspiration for C-3PO coming from a used car sales man dancing like a robot while wearing a light-colored suit in 21-87.

In 21-87, you can hear a man say that humans are nothing more than machines, followed by another man responding, “Many people feel that in the contemplation of nature and in communication with other living things, they become aware of some kind of force, or something, behind this apparent mask which we see in front of us, and they call it God.” “When Wired asked Lucas if this exchange was the inspiration for the Force, Lucas explained that it sort of was. It was “an echo of that phrase in 21-87.” But he added the caveat that, “similar phrases have been used extensively by many different people for the last 13,000 years to describe the life force.” (Young, 2018). Eventually, Lipsett was ostracized by The National Film Board as his films started to become “to weird.” Famous Scottish documentarian John Grierson, during a celebration of The National Film Board’s 25th anniversary in 1964, even reportedly remarked, "It has come to my attention recently that the Film Board more and more is becoming infiltrated with 'arty-tarty' types who intend to use the facilities which it offers for their own private purposes." (Wees, 2007). The documentary style films that had once helped to shape the cinematic landscape of Quebec, were becoming replaced by avant-garde art house films, and eventually feature length fictional movies.

“Michel Brault and Pierre Perrault’s landmark feature-length documentary Pour la suite du monde became the first Canadian entry in the official competition at Cannes, Québec films have regularly won prizes at international festivals and enjoyed some commercial success abroad. Mon Oncle Antoine won the top prize at the Chicago International Film Festival in 1971.” (American Review of Canadian Studies, 2013). In 1971, Mon Oncle Antoine was the first ever Canadian submission to the Academy Awards under the “Best Foreign Language Film” category, and since 1979, Canada has submitted a nomination in the “Best Foreign Language Film” category each year. While several films have achieved Academy Award nominations, only one film, 2003’s Les Invasions barbares by French Canadian director Denys Arcand, has won. The most recently nominated film was 2012’s War Witch by Montreal born director Kim Nguyen. All but two submissions (one film was filmed in Inuktitut, an Inuit language, and another film was filmed in Hindi) all have been Quebecois films.

Sources:

National Film Board of Canada. Mission and Highlights. November 21st, 2018. http://onf-nfb.gc.ca/en/about-the-nfb/organization/mandate/

Young, Bryan. “How a Canadian Short Film Inspired George Lucas to Make ‘Star Wars” SlashFilm. March 20, 2018. https://www.slashfilm.com/21-87-short-film-star-wars/]

Perreault, Catherine. “How Avant-Garde NFB Filmmaker Arthur Lipsett Influenced Kubrick and Lucas” National Film Board Blog. October 3rd, 2012. https://blog.nfb.ca/blog/2012/10/03/how-lipsett-influenced-kubrick-lucas/

Bachand, Denis, Desroches, Vincent, Loiselle, André, Santoro, Miléna. "Special Issue of the American Review of Canadian Studies on Québec Cinema." American Review of Canadian Studies, vol. 43, no. 2, 2013, pp. 157-190.

Wees, William C. “FROM COMPILATION TO COLLAGE: The Found-Footage Films of Arthur Lipsett The Martin Walsh Memorial Lecture 2007.” Revue Canadienne d'Études cinématographiques / Canadian Journal of Film Studies. 16(2):2-22. 2007.

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londontheatre · 7 years ago

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200 days ahead of its 200th birthday, The Old Vic today marks the launch of its bicentenary and Matthew Warchus’ third year as Artistic Director of The Old Vic with a season of world premiere productions:

A new adaptation of Charles Dickens’ timeless classic A Christmas Carol by Jack Thorne, directed by Matthew Warchus

The Divide, a ‘narrative for voices’, by Alan Ayckbourn, directed by Baylis Director Annabel Bolton

A new adaptation of Ingmar Bergman’s Fanny & Alexander by Stephen Beresford, directed by Max Webster

Mood Music, a new play by Joe Penhall, directed by Roger Michell

A new adaptation of Patrick Ness’ novel A Monster Calls, devised by the company, directed by Sally Cookson

A new musical dance production, Sylvia, directed and choreographed by Associate Artist Kate Prince

In the West End: Girl from the North Country at the Noël Coward Theatre from 29 December 2017; and the return of Emma Rice’s Brief Encounter at the Empire Cinema, Haymarket from March 2018

On tour: Dr. Seuss’s The Lorax in North and Central America and ‘ART’ UK wide.

Artistic Director Matthew Warchus commented: ‘We love and care for the elderly members of our family and community out of respect for all that they have achieved and contributed in their long lives. On the other hand, we love and care for the young because we are excited about their future and we want them to exuberantly fulfil their potential. To honour The Old Vic’s 200th birthday we are celebrating it partly as a treasured historic icon but mostly as an adventurous, youthful, hub of creativity with a vibrant future ahead of it. To emphasise this forward-facing spirit, I’m delighted to present a Bicentenary Season comprised entirely of world premiere productions, including four new commissions. The Old Vic will, of course, continue to mix pertinent revivals and refreshed classics into future seasons, but for this birthday year we are allowing ourselves to focus on new work. We aim for this famous building to be a welcoming, fun, surprising and indispensable cultural landmark, now and for another 200 years. Please join us this celebratory season and entertain something new.’

200 YEARS OF THE OLD VIC – OV200 Today begins a 200-day countdown to The Old Vic’s 200th birthday on 11th May 2018. Look out each day for a piece of OV200 content, delving into surprising stories past, present and future along with memories shared by the public. The Old Vic will be showcasing people’s stories throughout the countdown and are still asking people to get in touch with their story through: TWITTER: tweet or direct message @oldvictheatre using #OV200 FACEBOOK: post, message or mention @OldVicTheatre INSTAGRAM: share your picture and tag @oldvictheatre using #OV200 EMAIL: [email protected] WRITE: Old Vic Stories, The Old Vic, The Cut, London, SE1 8NB

The 200th birthday itself will be marked with a three-day birthday party – comprising a free, balloted performance on Friday 11th May (the date of the first public performance at The Old Vic in 1818), an open house and street party for families on Saturday 12th May followed by a performance for young people in the evening, and a fundraiser on Sunday 13 May.

During the bicentennial year, The Old Vic will be working with a number of OV200 partners, including various cultural organisations that began their lives within the walls of The Old Vic: Morley College, the National Theatre and Sadler’s Wells. Other collaborators include: Imagination, the Prince’s Trust, TfL, University of Bristol Theatre Collection, the V&A and many other friends.

One of those friends is two-time Academy Award-winner and star of last year’s production of King Lear, Glenda Jackson, who in a recent interview with The Old Vic said: ‘I think The Old Vic has a reputation that is immutable. It’s a lovely theatre to be in; it’s a lovely theatre to play in. It has, undoubtedly, a well-earned magic which has nothing to do exclusively with longevity. Looking at The Old Vic, not only because of its past but what it’s done in the recent past and what Matthew is doing with it now and in the future, that idea of attracting people who would not automatically think of going to the theatre, shows a vital energy resource. Because there isn’t going to be any theatre in the future if we don’t create the desire to go; if we don’t allow people to understand that it can be a unique experience. When it works, there’s nowhere else like it in the world.’ Glenda’s full interview will be released tomorrow, day 2 of the 200-day countdown.

PARTNERSHIPS The Old Vic continues its top-tier corporate partnerships into a third year. They continue to work with Royal Bank of Canada as The Old Vic’s Principal Partner during their bicentennial year. The partnership with RBC has powerful echoes of the work started by Canadian impresario Ed Mirvish, three decades ago when he saved The Old Vic and restored the auditorium to its 19th-century glory. In one of their most historically significant years, it is only thanks to RBC’s transformational support that The Old Vic remains as artistically vibrant, pioneering and indispensable as when we first opened our doors in 1818, with a full season of premiere productions planned for the year ahead.

The Old Vic and PwC share the belief that the arts are not a luxury but, instead, essential in building thriving, vibrant communities and must be shared as widely as possible. Since the beginning of Matthew’s tenure, thanks to the PwC £10 Previews, over 32,000 people have enjoyed world-class theatre for just £10, with 39% of bookers coming through The Old Vic’s doors for the very first time. We are incredibly proud to be making The Old Vic’s pioneering work widely accessible and inspiring a new audience.

Rhys Ifans: A Christmas Carol-photo by Helen Maybanks

PRODUCTION INFORMATION A CHRISTMAS CAROL WORLD PREMIERE A new version by Jack Thorne Directed by Matthew Warchus Starring Rhys Ifans Previews from 20 November 2017, press night 29 November 2017 Matthew Warchus directs Charles Dickens’ timeless classic A Christmas Carol in a joyous new adaptation by Jack Thorne, starring Rhys Ifans as Ebenezer Scrooge. On a bitter Christmas Eve night, a cold-hearted miser is visited by four ghosts. Transported to worlds past, present and future, Ebenezer Scrooge witnesses what a lifetime of fear and selfishness has led to and sees with fresh eyes the lonely life he has built for himself. An uplifting story for families aged 11+, this essential festive treat is vividly brought to the stage in a big-hearted production full of music and cheer.

THE DIVIDE PART ONE & PART TWO WORLD PREMIERE PRODUCTION By Alan Ayckbourn Directed by Annabel Bolton Previews from 1 February 2018, press day 7 February 2018 An Old Vic, Edinburgh International Festival and Karl Sydow production Written as a ‘narrative for voices’ by Alan Ayckbourn and brought to The Old Vic stage by Old Vic Baylis Director Annabel Bolton following its premiere at the Edinburgh International Festival, The Divide unfolds in a dystopian society of repression and seething insurrection. This production is presented in two parts. In the aftermath of a deadly contagion which has decimated the population, contact between men and women has become fatal. Under the dictates of an elusive and authoritarian Preacher, an unthinkable solution has been enforced. The adult survivors are now segregated by gender and, physically separated, men wear white as a sign of their purity and women – still deemed infected – are clothed in black as a mark of their sin. As new social norms prevail, brother and sister Elihu and Soween grow up learning the ways of their tightly controlled society. As they begin to glimpse the cracks in the system, Elihu falls for Giella, the daughter of two radical mothers, risking fatal disease and threatening to ignite a bloody revolution. The generous support from Bloomberg Philanthropies will allow this production to build its incorporation of both digital innovation and community engagement. Community involvement in this production has been made possible by the generous support of the Mohamed S. Farsi Foundation.

FANNY & ALEXANDER WORLD PREMIERE Based on ‘Fanny and Alexander’ written and directed by Ingmar Bergman Adapted by Stephen Beresford Directed by Max Webster Previews from 21 February 2018, press night 1 March 2018 ‘There should be no shame in us taking pleasure in our little lives.’ Legendary filmmaker Ingmar Bergman’s masterpiece Fanny & Alexander is translated to the stage by BAFTA award-winning writer Stephen Beresford and Old Vic Associate Director Max Webster. Amongst the gilded romance and glamour of 1900s Sweden, siblings Fanny and Alexander’s world is turned upside down when their widowed mother remarries the iron-willed local bishop. As creative freedom and rigid orthodoxy clash, a war ensues between imagination and austerity in this magical study of childhood, family and love.

MOOD MUSIC WORLD PREMIERE By Joe Penhall Directed by Roger Michell Previews from 21 April 2018, press night 2 May 2018 ‘Music is medication. The elixir of life. It’s for injecting into the blood stream to take away the pain… to promote euphoria… to adrenalise us and give us courage and fortitude.’ In an expensive London recording studio two songwriters, their lawyers and their psychotherapists go to battle over music. ‘I’m not saying he’s a sociopath. I’m just saying you find a lot of damaged people are drawn to the music industry. Lack of empathy, raging narcissism, grandiose egocentricity is expected of them.’

A play about the drama and the psychodrama of making music by the writer of Sunny Afternoon and Blue/Orange, the world premiere of Mood Music by Joe Penhall is directed by Roger Michell.

A MONSTER CALLS WORLD PREMIERE PRODUCTION Based on the novel by Patrick Ness Inspired by an original idea from Siobhan Dowd Devised by the company Directed by Sally Cookson Previews from 7 July 2018, press night 17 July 2018 An Old Vic production in association with Bristol Old Vic ‘Stories are wild creatures, the monster said. When you let them loose, who knows what havoc they might wreak?’ Patrick Ness’ piercing novel A Monster Calls is brought to The Old Vic stage in a powerful new adaptation by visionary director Sally Cookson. Thirteen-year-old Conor and his mum have managed just fine since his dad moved to America. But now his mum’s very sick and she’s not getting any better. His grandmother won’t stop interfering and the kids at school won’t look him in the eye. Then, one night, at seven minutes past midnight, Conor is woken by something at his window. A monster has come walking. It’s come to tell Conor tales from when it walked before. And when it’s finished, Conor must tell his own story and face his deepest fears. On publication, A Monster Calls became a bestseller with children and adults alike with its dazzling insight into love, loss and healing. It garnered huge critical acclaim, including an unprecedented double win of the Carnegie and Greenaway Medals for outstanding children’s literature and illustration. This adaptation is suitable for ages 10+. This production will run at Bristol Old Vic from 31 May 2018–16 June 2018.

SYLVIA WORLD PREMIERE ZooNation: The Kate Prince Company Written by Kate Prince & Priya Parmar Music by Josh Cohen & DJ Walde Lyrics by Kate Prince, Josh Cohen & DJ Walde Directed & Choreographed by Kate Prince Previews from 1 September 2018, press night 6 September 2018 An Old Vic, Sadler’s Wells and ZooNation: The Kate Prince Company production, co-commissioned by 14- 18 NOW

Votes for Women and a fractured family at a momentous hour in British history. 100 years after the first women in Britain were granted the vote, Kate Prince combines dance, hip hop, soul and funk to shed new light on a remarkable story at the heart of the Suffragette movement. Co-written by Kate Prince and Priya Parmar with original music by Josh Cohen and DJ Walde, Sylvia is a modern musical celebrating the life of Sylvia Pankhurst, her pivotal role in the campaign for women’s rights and the price of the passion and politics that tore her family apart.

Sylvia is co-commissioned by 14-18 NOW, the UK’s arts programme for the First World War centenary, with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Culture Media and Sport.

FROM THE OLD VIC We want to share our work with as wide an audience as possible. During Season 3, at least three of our Season 2 productions will go on tour in the UK and US or transfer to the West End. The Old Vic’s critically-acclaimed, sold out run of Girl from the North Country, written and directed by Conor McPherson with the music and lyrics of Bob Dylan, transfers to the Noël Coward Theatre in the West End with performances from 29 December 2017. Produced by Tristan Baker & Charlie Parsons for Runaway Entertainment, Steven Lappin, Sony Music Entertainment UK and David Mirvish. Dr. Seuss’s The Lorax will transfer from The Old Vic to the Royal Alexandra Theatre, Toronto, from 9 December 2017–21 January 2018. Later in 2018, with an American cast, the production heads to the Children’s Theatre Company, Minneapolis, from 17 April–10 June 2018 and The Old Globe, San Diego, from 3 July–12 August 2018. ‘ART’ (produced at The Old Vic in 2016) will embark on a UK tour from February until June 2018, produced by David Pugh & Dafydd Rogers. Kneehigh Theatre’s acclaimed production of Noël Coward’s Brief Encounter adapted and directed by Emma Rice, will open at the Empire Cinema in London’s West End in a co-production with The Old Vic, David Pugh & Dafydd Rogers and Steve & Jenny Wiener from 2 March 2018.

ASSOCIATE ARTISTS & DIRECTORS ASSOCIATE ARTISTS We are delighted to announce that joining The Old Vic as Associate Artists are: Stephen Beresford (writer), David Greig (writer), Claire van Kampen (composer), Conor McPherson (writer), Tamsin Oglesby (writer), Lucy Prebble (writer) and Jack Thorne (writer). They will be joining the existing Associate Artists: Simon Baker (sound design), Peter Darling (choreography), David Grindrod (casting), Manuel Harlan (photography), Rob Howell (design), Dennis Kelly (writer), Paul Kieve (magic), Drew McOnie (choreography), Tim Minchin (composer), Christopher Nightingale (composer), Kate Prince (choreography), Hugh Vanstone (lighting) and Gary Yershon (composer).

ASSOCIATE DIRECTORS Season 2 Baylis Director, Joe Murphy, has been appointed as an Associate Director by Matthew Warchus. THE BAYLIS DIRECTORSHIP & BAYLIS ASSISTANT DIRECTORSHIP The Bicentenary Season Baylis Director will be Annabel Bolton, who directs The Divide. The Baylis Director is an annual post that provides a unique opportunity for one director each year. The Baylis Director who is selected for this twelve-month programme will direct a full-scale production at The Old Vic, receive a fund with which to commission a new piece of work, and shadow the Artistic Director, using The Old Vic’s space and resources to research and develop projects. The Baylis Assistant Director is a short-term residency at The Old Vic providing unique opportunities each year for aspiring directors to work with and learn from seasoned professionals in the industry. This role is generously supported by Associate Artist Tim Minchin. The Old Vic continues to develop the following programmes and creative opportunities:

COMPANY IN RESIDENCE – WISE CHILDREN The Old Vic will be the London home for Emma Rice’s Wise Children as Company in Residence. Emma’s first production, also titled Wise Children, will be a new adaptation of Angela Carter’s novel and will feature in Matthew Warchus’ fourth Season (2018/2019). Created and led by Emma Rice, Wise Children is an Arts Council, National Portfolio Organisation for 2018-22. They will be based in the South West and have national significance.

FAMILIES AT THE OLD VIC Theatre creates a magical world of 3D stories and no child is too young to start experiencing the delight and wonder of live performance. This Season, in partnership with performers and organisations, The Old Vic will bring storytelling for all ages to our theatre.

VOICES OFF & ONE VOICE Voices Off is a programme of talks, conversations and debates given by leading voices in the arts, media, science and politics that explore the themes raised by the productions on our main stage in creative ways. One Voice is a series of specially-commissioned monologues. A voice can take you anywhere, to see anything, to feel joy, pain, to make you laugh until you cry, to see inside another person’s head, to build castles in the air. Funded by the TS Eliot Estate, One Voice celebrates the most raw of theatrical forms – a single voice on a stage without scenery, without costume and with nothing to rely on but words. Details of the Families, Voices Off and One Voice programmes will be announced later in the year.

PARTNERSHIPS The Old Vic is a registered charity and receives no regular subsidy. We are reliant on box office receipts, philanthropic donations and support from businesses to sustain our work both on and off the stage. The Old Vic continues its top-tier corporate partnerships into a third year:

PRINCIPAL PARTNER ROYAL BANK OF CANADA Royal Bank of Canada (RBC), one of the largest banks in the world and Canada’s largest company and financial institution by market capitalisation, is The Old Vic’s Principal Partner. RBC’s seminal support helps sustain The Old Vic’s innate pioneering spirit by enabling a bigger and broader programme of ground-breaking productions than ever before. In turn, this partnership ensures The Old Vic remains a leading theatrical powerhouse in the 21st century, which is as relevant and indispensable for its audiences as when it first opened its doors in 1818. Since the beginning of Matthew’s Artistic Directorship, RBC has supported 14 innovative world premiere productions and new adaptations, four inclusive family shows, six revivals with a twist and two captivating dance pieces. Dave Thomas, CEO, RBC Capital Markets, Europe said: ‘Royal Bank of Canada is delighted to continue its support of The Old Vic in its bicentennial year, as Matthew Warchus and his team promise to deliver yet another bold and innovative season. We are very proud of our association with The Old Vic and the positive impact the theatre makes to the local and artistic communities.’

This partnership reflects RBC’s global commitment to help create vibrant communities through donations, community investments, sponsorship and employee volunteer activities in the arts across the visual arts, music, performing arts, writing and filmmaking. In 2015, RBC contributed more than C$121 million to causes around the world.

PWC PREVIEWS Through PwC’s visionary support, The Old Vic makes half of all seats for the first five previews of each main house production available for just £10, making it one of the few ticket initiatives within the arts sector which has no criteria for access and genuinely invites anyone and everyone to join in to experience the transformational power of theatre. PwC, one of the world’s largest professional services networks, share The Old Vic’s belief that theatre needs to be cherished, supported and shared with as many people as possible. Cultural education and creative imagination are essential in building thriving, prosperous communities. PwC and The Old Vic have been partnering together since 2012 to make world-class theatre accessible to all. Since the beginning of Matthew’s Artistic Directorship, over 32,000 people have enjoyed outstanding theatre through the PwC £10 Previews scheme, with 39% of bookers being newcomers to The Old Vic. PwC’s commitment to ‘doing the right thing’ for the good of the communities in which it operates, chimes with The Old Vic, which has long possessed a social conscience. In The Old Vic’s bicentenary year, we are incredibly proud to be working with PwC to inspire a new audience ensuring The Old Vic continues to play an integral role within creative society and its community.

Kevin Ellis, Chairman and Senior Partner, PwC said ‘As someone who really enjoys the theatre, I want to make sure that everyone has the same opportunity to experience The Old Vic’s wonderful productions. Working with The Old Vic, the PwC £10 Preview tickets have already opened the doors to thousands of new theatregoers and we hope to continue making theatre more accessible to people through this initiative.’

For more information on PwC £10 Previews please visit http://ift.tt/2i0KmDz

A CHRISTMAS CAROL In a new version by Jack Thorne Directed by Matthew Warchus Mon 20 Nov 2017–Sat 20 Jan 2018 Mon–Sat: 7:30pm; Sat: 2:30pm; Wed: 1pm (until 20 Dec thereafter at 2.30pm) Mon–Wed 4–20 Dec: 7pm Additional matinee performances: Thu 28 Dec, Sun 31 Dec & 2 Tue Jan Press night: Wed 29 Nov, 7pm Audio Described Performance: Tue 9 Jan, 7.30pm Captioned Performance: Thu 11 Jan, 7.30pm Recommended age 11+ TICKETS: £12, £16, £21, £30/£35, £55/£57.50, £65/£67.50 Under 16s tickets half price on price bands A and B Mon–Thu and all Jan performances Tickets already on sale For information regarding Premium Seats please call the box office

THE DIVIDE PART ONE AND PART TWO By Alan Ayckbourn Directed by Annabel Bolton Thu 1 Feb–Sat 10 Feb 2018 Mon–Sat: 7.30pm; Wed & Sat,1.30pm Press Day: Wed 7 Feb, 1.30pm & 7.30pm Audio Described Performance: Sat 10 Feb Part One 1.30pm, Part Two 7.30pm Captioned Performance: Sat 10 Feb Part One 1.30pm, Part Two 7.30pm Recommended age 12+ TICKETS: £12, £16, £21, £30, £40, £50 DOUBLE BILL TICKETS: £30, £40, £50, £65, £80 Tickets already on sale

FANNY & ALEXANDER Based on ‘Fanny and Alexander’ written and directed by Ingmar Bergman Adapted by Stephen Beresford Directed by Max Webster Wed 21 Feb–Sat 14 Apr 2018 Mon–Sat: 7pm; Wed & Sat 1pm Additional matinee performance: Thu 12 Apr, 1pm Press night: Thu 1 Mar, 7pm Audio Described Performance: Tue 27 Mar, 7pm Captioned Performance: Thu 29 Mar, 7pm Recommended age 16+ TICKETS: £12, £16, £21, £30, £55, £65 For information regarding Premium Seats please call the box office

MOOD MUSIC By Joe Penhall Directed by Roger Michell Sat 21 Apr–Sat 30 Jun 2018 Mon–Sat: 7.30pm; Wed & Sat 2.30pm Additional matinee performances: Fri 4 May, 2.30pm &Thu 10 May, 2.30pm

Press night: Wed 2 May, 7pm Audio Described Performance: Mon 18 Jun, 7.30pm Captioned Performance: Thu 21 Jun, 7.30pm Recommended age 12+ TICKETS: £12, £16, £21, £30, £55, £65 For information regarding Premium Seats please call the box office

A MONSTER CALLS Based on the novel by Patrick Ness Inspired by an original idea from Siobhan Dowd Devised by the company Directed by Sally Cookson Sat 7 Jul–Sat 25 Aug 2018 Mon–Sat: 7:30pm; Wed & Sat: 2:30pm Additional matinee performance: Thu 19 Jul, 2.30pm Press night: Tue 17 Jul, 7pm Audio Described Performance: Tue 14 Aug, 7.30pm Captioned Performance: Thu 16 Aug, 7.30pm Recommended age 10+ TICKETS: £12, £16, £20, £25, £40, £50 Under 16s tickets half price on price bands A and B Mon–Thu including Wed mats For information regarding Premium Seats please call the box office

SYLVIA ZooNation: The Kate Prince Company Written by Kate Prince & Priya Parmar Music by Josh Cohen & DJ Walde Lyrics by Kate Prince, Josh Cohen & DJ Walde Directed & Choreographed by Kate Prince Sat 1 Sep–Sat 22 Sep 2018 Mon–Sat: 7.30pm, Wed & Sat 2.30pm Press night: Thu 6 Sep 7pm Audio Described Performance: Tue 11 Sep, 7.30pm Captioned Performance: Thu 13 Sep, 7.30pm TICKETS: £12, £15, £25, £35, £45 CONCESSIONS PwC £10 PREVIEWS: Available to everyone with half of the house priced at £10 for selected previews. SENIOR CITIZENS: Best available seats for £30 for all matinee performances, plus all performances of A Christmas Carol from 1–7 Jan. For The Divide, £25 (two part package £40) available for all two-show days. For Sylvia, £26 for all matinee performances. SCHOOL GROUPS: 10+ £12.50 for Mon–Wed perfs (excluding 18–20 Dec for A Christmas Carol). Mon–Thu perfs for The Divide. STUDENTS: £12.50 for Mon–Thu perfs for Sylvia. UNDER 16s: 50% off Band A and B tickets (Mon–Thu and all Jan perfs) for A Christmas Carol and 50% off Band A and B Mon–Thu for A Monster Calls. GROUPS: Group rates available, please see our website for more details. DISABLED PATRONS: Top three price bands reduced to £21 for all performances. Please call 0344 871 7628 for access bookings. All concessions are limited and subject to availability. All 2017/18 ticket prices correct at time of issue.

The Old Vic 2016-17 Season DR. SEUSS’S THE LORAX Adapted for the stage by David Greig Music and Lyrics by Charlie Fink Directed by Max Webster Previews from Sunday 15 October 2017, press night Tuesday 24 October 2017 ‘I am the Lorax. I speak for the trees!’ Dr. Seuss’s The Lorax returns to The Old Vic stage for a limited run opening on Tuesday 24 October, prior to international dates in Canada and the USA. The irrepressible, big-hearted, moustachioed critter is back. This dazzlingly funny, moving, and inspiring show sees the go-getting Once-ler come face to face with the magical Lorax in a battle over the beloved truffula trees and the whole of Paradise Valley. Adapted for the stage by David Greig with music and lyrics by Charlie Fink, Dr. Seuss’s The Lorax is a brilliant riot of eye-popping colour, gorgeous puppetry and infectious music to enchant adults and children alike.

Simon Paisley Day reprises his role as The Once-ler, and David Ricardo-Pearce will play The Lorax along with puppeteers Laura Caldow and Ben Thompson. The full cast includes Michael Ajao, Joseph Alessi, Josh Baker, Jack Beale, Hannah Fairclough, Owain Gwynn, Romina Hytten, Wendy Mae Brown, Kirsty Malpass, Kerri Norville, Ellena Vincent and Silas Wyatt-Barke.

DR. SEUSS’S THE LORAX Limited 3 week run until Sun 5 Nov 2017 Performances times vary, please see our website for the full performance schedule Press night: Tue 24 Oct 2017, 7pm Audio Described Performance: Fri 27 October, 7.30pm Captioned Performance: Tue 31 October, 7pm TICKETS: £12, £15, £20, £25, £32, £38 Under 16’s tickets half price*

Dr. Seuss’s The Lorax at The Old Vic First Look Production Images

DR. SEUSS’S THE LORAX ADAPTED FOR THE STAGE BY DAVID GREIG Sunday 15th October to Sun 5th November 2017 (Previews from Sun 15 Oct) The Old Vic Theatre 103 The Cut, London, SE1 8NB

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krisrampersad · 7 years ago

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Rampersad: Claim our writers, recognise our heroes

Michelle Loubon

Published:

Sunday, September 16, 2012

First Lady of Trinidad and Tobago Dr Jean Ramjohn- Richards right, chats with Dr Kris Rampersad as she launched her latest book LiTTribute to the Republic at Knowsley Building, Queen's Park East, yesterday. PHOTO: NICOLE DRAYTON

“We cannot continue to view ourselves through the shattered lenses of the past.” Dr Kris Rampersad, author of LiTTscapes Landscapes of Fiction from Trinidad and Tobago, made this comment at LiTTribute to the Republic. The launch was also twinned with Tea Readings with the First Lady Dr Jean Ramjohn-Richards. She was joined by her daughter Maxine Richards and daughter-in-law Dr Maryam Abdool-Richards.

Rampersad said: “The creating of the society we want has to begin with us. It is not reinventing the wheel. “It is taking charge and setting for ourselves our own benchmarks of public action and accountability. We are taking this (literature) into all our communities. “We are asking them to claim their writers, recognise their heroes and respect their elders for the repository of knowledge and wisdom that they are...and yes, set up monuments, too, to them so the visitors will come honour them and honour us too, as our ancestors did in their land before coming here, so we do not have to go too far to look for our heroes.”

On a lighter note, the launch featured readings by Saiesh Rampersad, five, an appraisal by cultural activist Pearl Eintou Springer, Chibale Drumming Ensemble and invocation by Kadie Edwards, Jolie Wong and Josiah Persad Rampersad: Claim our writers, recognise our heroes | The Trinidad Guardian Newspaper

Michael Anthony: Save Mayaro Post Office

Published:

Sunday, September 16, 2012

The destruction of McLeod House, Chase Village, Chaguanas, sparked a lot of furore recently. Historian Michael Anthony is now appealing to the relevant authorities to act swiftly to save the landmark Mayaro Post Office which he claims is at the point of collapse in his hometown.

He made this comment at the launch of LiTTscapes (Landscapes of Trinidad and Tobago), at Knowsley House, Queen’s Park Savannah, Port-of-Spain, yesterday. Anthony, who hails from Mayaro, was also a special guest of event host Dr Kris Rampersad, who referred to him as her “muse.” Anthony said: “I felt hurt. They were afraid if they called the Government, there would be opposition.”

Sharing his knowledge of McLeod House, he said: “It was called Friendship House. There were competitions and they had banners proclaiming the amount of sugar that was produced.” “But there is another house at Mayaro that has contributed to the development of Mayaro. It is the Mayaro Post Office. And it is part of the historical culture.

“For 30 years, we have been trying to get the authorities to help. The building is crumbling. We called the Ministry of Health to come and get rid of the corbeaux. But they never came.” Anthony said although it belongs to the Mayaro Historical Society, he is hoping they would get help from the Ministry of Arts and Multiculturalism and the National Trust to restore and beautify the architectural icon.

Anthony noted legislation was being worked upon to save these heritage treasures. “When it is enforced the people who live in these houses will have to look after them. I am hoping something would be done too because the house would collapse.” In the aftermath of the McLeod House demolition, Vel Lewis, National Trust and Deputy Permanent Secretary in the Ministry of Arts and Multiculturalism, says Minister of National Diversity and Social Integration Clifton De Coteau plans to meet with with Attorney General Anand Ramlogan to “follow up on the listing.” Lewis said while “properties of interest” had been identified, there was an urgent need to concretise the formal listing.

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Murder She Wrote: Death Written in Stone in Dana Seetahal Assassination Creating Centres of Peace in Trinidad and Tobago The Price of Independence:#DanaSeetahalAssassination Conceive. Achieve. Believe Demokrissy: Wave a flag for a party rag...Choosing the Emperor's ... Oct 20, 2013 Choosing the Emperor's New Troops. The dilemma of choice. Voting is supposed to be an exercise in thoughtful, studied choice. Local government is the foundation for good governance so even if one wants to reform the ... http://ift.tt/1vYaD4K Old Casked Rum: The Emperor's New Tools#1 - Demokrissy - Blogger Apr 07, 2013 Old Casked Rum: The Emperor's New Tools#1 - Towards Constitutional Reform in T&T. So we've had the rounds of consultations on Constitutional Reform? Are we any wiser? Do we have a sense of direction that will drive ...http://ift.tt/1vYaD4K Demokrissy: Valuing Carnival The Emperor's New Tools#2 Apr 30, 2013 Valuing Carnival The Emperor's New Tools#2....http://ift.tt/1vYaD4K See Also: Demokrissy: Winds of Political Change - Dawn of T&T's Arab Spring Jul 30, 2013 Wherever these breezes have passed, they have left in their wake wide ranging social and political changes: one the one hand toppling long time leaders with rising decibels from previously suppressed peoples demanding a ...http://ift.tt/1vYaD4K Demokrissy: Reform, Conform, Perform or None of the Above cross ... Oct 25, 2013 Some 50 percent did not vote. The local government elections results lends further proof of the discussion began in Clash of Political Cultures: Cultural Diversity and Minority Politics in Trinidad and Tobago in Through The ...http://ift.tt/1vYaD4K Demokrissy: Sounds of a party - a political party Oct 14, 2013 They are announcing some political meeting or the other; and begging for my vote, and meh road still aint fix though I hear all parts getting box drains and thing, so I vex. So peeps, you know I am a sceptic so help me decide. http://ift.tt/1vYaD4K Demokrissy: T&T Constitution the culprit | The Trinidad Guardian Jun 15, 2010 T&T Constitution the culprit | The Trinidad Guardian · T&T Constitution the culprit | The Trinidad Guardian. Posted by Kris Rampersad at 8:20 AM · Email ThisBlogThis!Share to TwitterShare to Facebook ...http://ift.tt/1vYaD4K Related: Demokrissy: To vote, just how we party … Towards culturally ... Apr 30, 2010 'How we vote is not how we party.' At 'all inclusive' fetes and other forums, we nod in inebriated wisdom to calypsonian David Rudder's elucidation of the paradoxical political vs. social realities of Trinidad and Tobago. http://ift.tt/1vYaD4K Demokrissy: DEADLOCK: Sign of things to come Oct 29, 2013 An indication that unless we devise innovative ways to address representation of our diversity, we will find ourselves in various forms of deadlock at the polls that throw us into a spiral of political tug of war albeit with not just ...http://ift.tt/1vYaD4K Demokrissy: The human face of constitutional reform Oct 16, 2013 Sheilah was clearly and sharply articulating the deficiencies in governmesaw her: a tinymite elderly woman, gracefully wrinkled, deeply over with concerns about political and institutional stagnation but brimming over with ... http://ift.tt/1vYaD4K Demokrissy: Trini politics is d best Oct 21, 2013 Ain't Trini politics d BEST! Nobody fighting because they lose. All parties claiming victory, all voting citizens won! That's what make we Carnival d best street party in the world. Everyone are winners because we all like ...http://ift.tt/1vYaD4K New Media, New Civil Society, and Politics in a New Age - Demokrissy Jan 09, 2012 New Media, New Civil Society, and Politics in a New Age | The Communication Initiative Network. New Media, New Civil Society, and Politics in a New Age | The Communication Initiative Network. Posted by Kris Rampersad ...http://ift.tt/1vYaD4K Demokrissy: T&T politics: A new direction? - Caribbean360 Oct 01, 2010 http://ift.tt/1vYaD4K Oct 20, 2013 Choosing the Emperor's New Troops. The dilemma of choice. Voting is supposed to be an exercise in thoughtful, studied choice. Local government is the foundation for good governance so even if one wants to reform the ... http://ift.tt/1vYaD4K Old Casked Rum: The Emperor's New Tools#1 - Demokrissy - Blogger Apr 07, 2013 Old Casked Rum: The Emperor's New Tools#1 - Towards Constitutional Reform in T&T. So we've had the rounds of consultations on Constitutional Reform? Are we any wiser? Do we have a sense of direction that will drive ...http://ift.tt/1vYaD4K Demokrissy: Valuing Carnival The Emperor's New Tools#2 Apr 30, 2013 Valuing Carnival The Emperor's New Tools#2....http://ift.tt/1vYaD4K See Also: Demokrissy: Winds of Political Change - Dawn of T&T's Arab Spring Jul 30, 2013 Wherever these breezes have passed, they have left in their wake wide ranging social and political changes: one the one hand toppling long time leaders with rising decibels from previously suppressed peoples demanding a ...http://ift.tt/1vYaD4K Demokrissy: Reform, Conform, Perform or None of the Above cross ... Oct 25, 2013 Some 50 percent did not vote. The local government elections results lends further proof of the discussion began in Clash of Political Cultures: Cultural Diversity and Minority Politics in Trinidad and Tobago in Through The ...http://ift.tt/1vYaD4K Demokrissy: Sounds of a party - a political party Oct 14, 2013 They are announcing some political meeting or the other; and begging for my vote, and meh road still aint fix though I hear all parts getting box drains and thing, so I vex. So peeps, you know I am a sceptic so help me decide. http://ift.tt/1vYaD4K Demokrissy: T&T Constitution the culprit | The Trinidad Guardian Jun 15, 2010 T&T Constitution the culprit | The Trinidad Guardian · T&T Constitution the culprit | The Trinidad Guardian. Posted by Kris Rampersad at 8:20 AM · Email ThisBlogThis!Share to TwitterShare to Facebook ...http://ift.tt/1vYaD4K Related: Demokrissy: To vote, just how we party … Towards culturally ... Apr 30, 2010 'How we vote is not how we party.' At 'all inclusive' fetes and other forums, we nod in inebriated wisdom to calypsonian David Rudder's elucidation of the paradoxical political vs. social realities of Trinidad and Tobago. http://ift.tt/1vYaD4K Demokrissy: DEADLOCK: Sign of things to come Oct 29, 2013 An indication that unless we devise innovative ways to address representation of our diversity, we will find ourselves in various forms of deadlock at the polls that throw us into a spiral of political tug of war albeit with not just ...http://ift.tt/1vYaD4K Demokrissy: The human face of constitutional reform Oct 16, 2013 Sheilah was clearly and sharply articulating the deficiencies in governmesaw her: a tinymite elderly woman, gracefully wrinkled, deeply over with concerns about political and institutional stagnation but brimming over with ... http://ift.tt/1vYaD4K Demokrissy: Trini politics is d best Oct 21, 2013 Ain't Trini politics d BEST! Nobody fighting because they lose. All parties claiming victory, all voting citizens won! That's what make we Carnival d best street party in the world. Everyone are winners because we all like ...http://ift.tt/1vYaD4K New Media, New Civil Society, and Politics in a New Age - Demokrissy Jan 09, 2012 New Media, New Civil Society, and Politics in a New Age | The Communication Initiative Network. New Media, New Civil Society, and Politics in a New Age | The Communication Initiative Network. Posted by Kris Rampersad ...http://ift.tt/1vYaD4K Demokrissy: T&T politics: A new direction? - Caribbean360 Oct 01, 2010 http://ift.tt/1vYaD4K Others: Demokrissy: Old Casked Rum: The Emperor's New Tools#1 ... Apr 07, 2013 Old Casked Rum: The Emperor's New Tools#1 - Towards Constitutional Reform in T&T. So we've had the rounds of consultations on Constitutional Reform? Are we any wiser? Do we have a sense of direction that will drive ... http://ift.tt/1vYaD4K Demokrissy: Valuing Carnival The Emperor's New Tools#2 Apr 30, 2013 Valuing Carnival The Emperor's New Tools#2. http://ift.tt/1vYaD4K Wave a flag for a party rag...Choosing the Emperor's New ... Oct 20, 2013 Choosing the Emperor's New Troops. The dilemma of choice. Voting is supposed to be an ... Old Casked Rum: The Emperor's New Tools#1 - Towards Constitutional Reform in T&T. Posted by Kris Rampersad at 10:36 AM ... http://ift.tt/1vYaD4K Demokrissy: Carnivalising the Constitution People Power ... Feb 26, 2014 This Demokrissy series, The Emperor's New Tools, continues and builds on the analysis of evolution in our governance, begun in the introduction to my book, Through the Political Glass Ceiling (2010): The Clash of Political ... http://ift.tt/1vYaD4K Envisioning outside-the-island-box ... - Demokrissy - Blogger Feb 10, 2014 This Demokrissy series, The Emperor's New Tools, continues and builds on the analysis of evolution in our governance, begun in the introduction to my book, Through the Political Glass Ceiling (2010): The Clash of Political ... http://ift.tt/1vYaD4K Demokrissy: Futuring the Post-2015 UNESCO Agenda Apr 22, 2014 It is placing increasing pressure for erasure of barriers of geography, age, ethnicity, gender, cultures and other sectoral interests, and in utilising the tools placed at our disposal to access our accumulate knowledge and technologies towards eroding these superficial barriers. In this context, we believe that the work of UNESCO remains significant and relevant and that UNESCO is indeed the institution best positioned to consolidate the ..... The Emperor's New Tools ... http://ift.tt/1vYaD4K Demokrissy: Cutting edge journalism Jun 15, 2010 The Emperor's New Tools. Loading... AddThis. Bookmark and Share. Loading... Follow by Email. About Me. My Photo · Kris Rampersad. Media, Cultural and Literary Consultant, Facilitator, Educator and Practitioner. View my ... http://ift.tt/1vYaD4K

@krisramp, @KrisRampersadTT, @lolleaves, @sirkenrobinson, @level5leaders, @pankajghemawat @potus @un @unesco @culture @time @life @nytimes @narendramodi #narendramodi @krisrampersad #krisrampersad @theguardian @heritage

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newstwitter-blog · 8 years ago

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New Post has been published on News Twitter

New Post has been published on http://www.news-twitter.com/2017/02/16/la-times-trump-and-netanyahu-sidestep-two-state-solution-for-mideast-peace-in-their-first-summit-15/

La Times: Trump and Netanyahu sidestep two-state solution for Mideast peace in their first summit

President Trump told Israeli Prime Minister Benjamin Netanyahu on Wednesday that he is willing to abandon the long-standing search for a two-state solution to the Israeli-Palestinian conflict, signaling a major shift in U.S. policy in the Middle East.

The two-state solution has been the goal of U.S. efforts to achieve peace in the region for decades, and Trump’s willingness to consider a new policy pleased Israel’s right wing, which strongly supports a single state encompassing disputed Palestinian lands, and sparked widespread criticism among diplomats.

Trump also appeared to catch Netanyahu off-guard when he criticized the Israeli government’s recent sharp expansion of housing settlements in the occupied West Bank, land claimed by the Palestinians.

Appearing at a joint news conference before a White House summit, Trump turned to Netanyahu, who stood at the next podium, and said, “I’d like to see you hold back on settlements for a little bit.”

Netanyahu looked surprised and countered that settlements could be discussed as part of a final peace deal, but added they were “not the core of the conflict.”

After years of chilly relations between Netanyahu and President Obama — like a bad marriage, their meetings often featured awkward body language and bitter sniping — the Israeli leader and Trump were all broad smiles, warm handshakes and gushing praise at their first get-together since the presidential election.

That may have been the point for a month-old presidency that appears in chaos, and for Netanyahu, who is battling allegations of corruption back home and needs to show Israelis he is back in good graces at the highest reaches in Washington.

“For both sides, the primary objective of this meeting is to change the political theater of the relationship,” said Michele Flournoy, a Defense official in the Clinton and Obama administrations. “To change the vibe, the feeling, the perception [to show] that …you know, it’s all kumbaya.”

Indeed, Trump and Netanyahu appeared in sync on most issues, especially on the elusive search for a long-term Mideast peace deal through a two-state solution. For years, U.S. and Israeli leaders, as well as most of the international community, have advocated the vision of two nations, one Israeli and one Palestinian, living side by side, as the key to peace.

A day after an anonymous White House official told reporters that Trump was no longer committed to that approach, the president made it official.

Trump said he wanted to forge “a really great peace deal” and would support whatever solution that Israelis and Palestinians wanted.

“I’m looking at two-state and one-state, and I like the one both parties like,” Trump said. “I can live with either one.”

Netanyahu, who has formally supported the two-state solution in the past, dodged the question.

Israel’s far right increasingly has pushed the idea of a single Israeli state of both Arabs and Jews, and control of the disputed West Bank, Golan Heights and other areas captured by Israel during the 1967 war.

Palestinians see much of that land as theirs, and insist on a separate sovereign state.

Other critics, including former Secretary of State John F. Kerry, note that Palestinians would soon outnumber Jews in a single-state scenario. They could use the ballot box to take control unless Israel abandons its democracy and restricts their rights the way South Africa once barred blacks from voting under apartheid.

During the campaign, Trump indicated he would be in lockstep with Netanyahu on Israeli policies, and rarely even mentioned the Palestinians. But since his inauguration, the new president has moderated some of his positions.

Trump was asked Wednesday, for example, about his campaign pledge to relocate the U.S. Embassy from Tel Aviv to Jerusalem, a move considered provocative because both Israel and the Palestinians claim Jerusalem as their capital.

Trump said he would “love” to see that and was thinking about it “very carefully,” but would not commit to a move date. Jordan’s King Abdullah II recently warned the White House that moving the embassy would spark widespread unrest that could threaten his government, a major U.S. ally in the region.

As expected, Netanyahu and Trump were highly critical of the landmark arms-control deal, negotiated by six world powers — including the U.S. — and Iran in 2015, which eased sanctions against Tehran in exchange for Iran destroying or freezing its nuclear development programs.

Trump vowed to “do more to prevent Iran from ever developing — I mean ever — a nuclear weapon.” But he did not repeat his campaign promise to rip up the deal.

Netanyahu strongly defended Trump when asked about the xenophobic and anti-Semitic sentiments unleashed by some of Trump’s supporters during the presidential race last year.

“There is no greater friend of Israel,” Netanyahu said of Trump, then singled out the president’s son-in-law, Jared Kushner, as a lifelong, family friend.

Kushner, a 36-year-old observant Jew with no formal diplomatic experience, has been tapped by Trump to lead U.S. negotiations with Israel and the Palestinians.

His chances for success are difficult to gauge. Kushner certainly has the president’s ear and will be able to project authority in any talks. But Palestinians will be suspicious of his ties to Netanyahu, and as a newcomer, he may struggle with the endless complexities of the enduring conflict.

But Trump and Netanyahu said several Arab countries now see Iran and radical Islam as their primary enemies, not Israel. They said Saudi Arabia and other Arab states could be recruited to help negotiate a peace deal between Israel and the Palestinians.

Previous administrations have tried enlisting Arab states to craft a diplomatic solution, an approach known as “outside-in,” without evident success. It stands in contrast to the “inside-out” strategy, which argued that resolving the conflict directly through the two-state solution would lead to peace in the broader Middle East.

Getting Arab states to agree to cooperate would be difficult without offering concessions to the Palestinians and without recognizing the two-state solution, diplomats said.

“It will be hard to tap dance there for long,” Daniel Shapiro, a former U.S. ambassador to Israel, said on Twitter. Palestinians and Arabs “can’t live with [a] walk back” from the two-state solution, he added. “‘Outside-in’ approach has no chance on this basis.”

Another former U.S. ambassador to Israel, Daniel Kurtzer, was also critical of Trump’s policy shift.

“If they think there’s a solution other than the two-state outcome, then they have not done their homework,” he told CNN.

In Israel, right-wing members of Netanyahu’s government celebrated Trump’s distancing himself from a two-state policy.

“A new era. After 24 years, the Palestinian flag was lowered today from the staff and replaced by an Israeli flag,’’ tweeted Education Minister Naftali Bennett, the head of the pro-settlement Jewish Home party and a rival to Netanyahu.

“The positions expressed by the president are evidence that the two state solution is not the only solution to reach peace, and that the moment has arrived to change the equation and exert pressure on the Palestinian side,” Israeli Public Security Minister Gilad Erdan agreed on Twitter.

The Palestinian leadership reacted cautiously, with one official, Mustafa Barghouti of the Palestine Liberation Organization, saying Trump’s policy shift seemed a work in progress.

Netanyahu’s visit comes at a delicate time for him back home, where he faces multiple investigations for alleged corruption, weakening his political position. He has denied the allegations.

He also faces heavy right-wing pressure to impose tougher anti-Palestinian measures, including annexation of large swaths of the West Bank, essentially wresting it from Palestinian control.

Special correspondent Joshua Mitnick in Tel Aviv contributed to this report.

[email protected]

For more on international affairs, follow @TracyKWilkinson on Twitter

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UPDATES:

5:10 p.m.: This report has been revised for additional details and for clarity.

This report was originally posted at 4:20 p.m.

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newstwitter-blog · 8 years ago

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New Post has been published on News Twitter

New Post has been published on http://www.news-twitter.com/2017/02/16/la-times-trump-and-netanyahu-sidestep-two-state-solution-for-mideast-peace-in-their-first-summit-14/