#jan van tricht

[germanpostwarmodern]

Paviljoen Buitenveldert (1964-67) in Amsterdam, the Netherlands, by Gerrit Rietveld & Jan van Tricht

[elioassuncao]

Startup Grind Cardiff Elio Assuncao with Dr Veerle Van Tricht Jan 2019 #SGCardiff. Burnout Expert help you! In her 20-year career as a specialist surgeon, Dr. V has healed an estimated 20,000 patients across the globe. She has worked in Belgium, France, South Africa, Cameroon, Namibia, Australia and the United Kingdom. Veerle is on a mission to empower patients and teach them how to take the key to their wellbeing back. born on 4 March 1968 in the small town of Heist op en Berg in Flanders( Belgium). She became a Medical doctor at the University of Leuven in 1993 and an Ophthalmologist in 1997. Dr V worked as a volunteer for Doctors without Borders and other non-profit organisations, in Africa and Australia, doing cataract surgery in rural villages between 1993 and 2006. An avid scuba diver she swam with sharks in the Blue Hole in Durban, SA, manta rays in Fiji and Thailand and even the elusive whale shark, in Mozambique . She also enjoys snorkeling and feeding jackfish in the Cook Islands. Travel is her main hobby. She worked as a vitreoretinal surgeon in one of the biggest university hospitals of South Africa, in Pretoria. Dr V is a talented public speaker, in several languages, including English, Dutch and French. She has taught medical students and registrars and spoke at numerous conference all over the world. by YODspica

[baclofenwiki-blog]

Wirksamkeit und Sicherheit von hochdosiertem Baclofen zur Behandlung von Alkoholabhängigkeit: Eine multizentrische, randomisierte, doppelblinde kontrollierte Studie (European Neuropsychopharmacology, 2017)

Efficacy and safety of high-dose baclofen for the treatment of alcohol dependence: A multicentre, randomised, double-blind controlled trial (European Neuropsychopharmacology, 2017) Autoren: Esther M. Beraha, Elske Salemink, Anna E. Goudriaan, Abraham Bakker, David de Jong, Natasha Smits, Jan Willem Zwart, Dick van Geest, Pieter Bodewits, Tom Schiphof, Harma Defourny, Mirjam van Tricht, Wim van den Brink & Reinout W. Wiers (pp, 23.06.2018)

Abstract im englischen Original

Previous randomised placebo-controlled trials with low-to-medium doses of baclofen (30-60mg) showed inconsistent results, but case studies suggested a dose-response effect and positive outcomes in patients on high doses of baclofen (up to 270mg). Its prescription was temporary permitted for the treatment of alcohol dependence (AD) in France, and baclofen is now widely prescribed. Recently, a small RCT found a strong effect of a mean dose of 180mg baclofen. In the present study the efficacy and safety of high doses of baclofen was examined in a multicentre, double-blind, placebo-controlled trial. 151 patients were randomly assigned to either six weeks titration and ten weeks high-dose baclofen (N=58; up to 150mg), low-dose baclofen (N=31; 30mg), or placebo (N=62). The primary outcome measure was time to first relapse. Nine of the 58 patients (15.5%) in the high-dose group reached 150mg and the mean baclofen dose in this group was 93.6mg (SD=40.3). No differences between the survival distributions for the three groups were found in the time to first relapse during the ten-weeks high-dose phase (χ2=0.41; p=0.813) or the 16-weeks complete medication period (χ2=0.04; p=0.982). There were frequent dose-related adverse events in terms of fatigue, sleepiness, and dry mouth. One medication related serious adverse event occurred in the high-dose baclofen group. Neither low nor high doses of baclofen were effective in the treatment of AD. Adverse events were frequent, although generally mild and transient. Therefore, large-scale prescription of baclofen for the treatment of AD seems premature and should be reconsidered.

Link zum englischen Abstract Volltext auf Anfrage

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[londontheatre]

Now in its sixth year, VAULT Festival returns from 24th January to 18th March 2018 with 300 individual shows, championing new writing, immersive experiences, comedy, film and late night entertainment. Returning to its native venue beneath Waterloo Station, expanding further into satellite venues including Waterloo East Theatre and Network Theatre and with support from We Are Waterloo, the programme is broader and more diverse than ever before. Tickets are available from Dec 5th via vaultfestival.com.

Packed with an array of intimate themed bars and a selection of the city’s finest street food offerings, the festival promises to be an eight week cultural nerve centre inviting audiences to return to see multiple and varied shows as well as playing host to a series of glittering late night parties. The VAULT New Writers Award, round-tables on gender equality and a partnership with the iF Platform all contribute to VAULT’s continued commitment to nurturing and presenting the broadest and best selection of contemporary performance.

Theatre Neverland, by Theatre Deli and The Guild of Misrule, producers of the 2017 immersive theatre sensation, The Great Gatsby, return to VAULT 2018 with a full eight week run of this immersive musical adaptation of J.M. Barrie’s classic. This dark and dangerous world will be brought to life throughout the labyrinthine Vaults, with audiences encountering glittering pirates, mermaids, food fights, absinthe bars and soaring live music from a band of lost boys. Caravan, will serve up a healthy dose of immersive hip hop dance, whilst Lamplighters will see audience led through an immersive, improvised spy story in the style of John Le Carre for a hilarious evening of drama, deception and treachery.

Revelations sees the return of critically acclaimed James Rowland with a storytelling show about giving his best friends his sperm. Bismillah! An ISIS Tragicomedy, from Wound Up Theatre sees two Brits meet on either side of a radical divide, while writer John O’Donovan’s If We Got Some More Cocaine I Could Show You How I Love You, sees two gay robbers do a whole lot of blow in this critical hit from Old Red Lion. Further new work comes from writer-performer Jessica Butcher with SPARKS, Abi Zakarian with I Have A Mouth And I Will Scream, Katie Jackson with Conquest and much more.

Circus & Magic Becoming Shades serves up a sensory feast of dance, aerial acrobatics, music and fire performances up close and personal in Hades’ underworld as Chivaree Circus explode their 2017 award winning re-imagining of the classic myth of Persephone into a full 8 week immersive circus extravaganza. Directors and performers David Aula and Simon Evans team up again following 2017’s hit The Vanishing Man, to explore hypnotism and the human mind with The Vanishing Mankind. Born without hands or feet, Madhi The Magician will perform wonders at VAULT, having overcome these incredible obstacles to become one of the world’s most extraordinary magicians.

Female Led Continuing its commitment to female led work, VAULT are proud to have programmed over 52% of shows written or directed by women. Paper Scissors Stone from Fringe First winner Katie Bonna takes a sharp-edged peek into gender conditioning whilst Glitter Punch, from Some Riot Theatre, deals with student/teacher relationship boundaries, receiving nine 4 star reviews over its run in Edinburgh. Foreign Body is the critically acclaimed solo show about healing after sexual assault from Imogen Butler-Cole, and The Strongbox by Stephanie Jacob looks at domestic slavery. Other female led work at VAULT includes Mission Abort, Ad Libido, Big Bad , ZINA, A Girl and a Gun, Double Infemnity, The Vagina Dialogues and many more.

With a high-reaching agenda to change the theatre industry from the inside out by altering its attitude towards female playwrights and their output, VAULT is announcing its Writers Gap scheme for talented emerging female writers to meet with producers and programmers from London Theatres, including the Donmar, Almeida and Old Vic, to explore and remove industry-wide barriers.

BAME For a Black Girl, a piece of straight, honest storytelling from Nicole Acquah, is a powerful response to the claim that racism doesn’t exist in the UK. Upcoming star Nicole Henriksen’s second solo show, A Robot in Human Skin, explores her past as a stripper, while The Year of the Rooster Monk, sees award winning absurdists Les Foules present Giselle LeBleu Gant in a part-cabaret, part-narrative, part-seance spectacle, which explores millennial isolation, black feminist movements and the problems of gentrification.

Focusing on stories of young black men in contemporary London, Still We Dream by choreographer Joseph Toonga explores the power of relationships and the ugly reality of ‘the trumps and triumphs’ of reaching for your dreams through free-flowing, animalistic, expressive movement, blurring the lines of hip-hop and contemporary dance.

Accessibility and Integrated Arts VAULT Festival will this year partner with the iF Platform (Integrated Fringe) to showcase the work of companies and artists producing work with disabled and non disabled artists. MIA: Daughter’s of Fortune, from Mind the Gap, tackles the taboo subject of learning disability and parenthood with silliness, stories and statistics. Further integrated work includes the playfully devised Follow Suit from Silent Faces and Georgia Morrell’s Eyecon with more to follow.

LGBTQ The festival celebrates a host of gender explorative pieces with the likes of Gypsy Queen, which offers a bold response to homophobia in boxing after widespread acclaim in Edinburgh. TESTOSTERONE is the critically acclaimed physical theatre comedy from Rhum & Clay, following Kit as he transitions from female to male in his early thirties, experiencing life on both sides of the gender divide. Consumables is an alarming concoction of knives, gimp masks, fetish videos and hostages and further gender explorative and LGBTQ work comes from Paloma Oakenfold with the darkly funny Stud, as well as Jaswinder Blackwell-Pal’s The Poetry We Make and Tumulus by Christopher Adams.

Comedy VAULT Festival are proud to announce the first annual VAULT Comedy Festival, a dedicated programme of over 125 comedy shows across 8 weeks, curated to support work from up and coming comics through to Edinburgh Comedy Award Winners. Appearances come from hotly tipped rising stars Joe Lycett, Bridget Christie, Richard Gadd, Phil Wang and Adam Riches, alongside critically-acclaimed Edinburgh shows from Mat Ewins, Graham Dickson, Joe Sutherland with Model/Actress and The Pretend Men, who return to VAULT with their highly physical Police Cops in Space for a two week run from Jan 24th. With scores of unannounced acts trying out their new material, VAULT 2018 is going to be the place to watch for big talent.

Musicals & Cabaret Today’s ludicrous epoch is heartily lampooned by writer Isla van Tricht and composer Guy Woolf with Great Again, a musical exploring the sensitivities of Trumpian America, while the musical and political tomfoolery continues with The People’s Rock: A Musical from Nevertheless She, in which an impressionable young woman navigates a dystopian landscape with only 2020 US presidential candidate, Dwayne ‘The Rock’ Johnson to guide her. From the creators of the award-winning sellout hit Buzz, Fat Rascal Theatre present Tom and Bunny Save the World, a zombie apocalypse musical which places women in the roles usually taken by men: the soldier, the scientist and the sexual instigator.

Family Entertainment Multi award-winning theatre company, ThisEgg, invites children and adults alike to save the world one bee at a time with Me & My Bee, a political party disguised as a party party disguised as a comedy show. With a new supervillain in town, Doktor James’s Bad Skemes enlists audiences of all ages to help prove the title character is in fact the most evil guy around with more child friendly shows in the form of One Duck Down by Faceplant Theatre and the return of cult classic Funz and Gamez from Phil Ellis.

Satellite Venues With an ever increasing number of shows, experiences and events scheduled and support from WeAreWaterloo, VAULT will for the first time spill into Waterloo East Theatre for a wide variety of shows with yet more programmed at the Network Theatre. Rubber is an hour-long immersive show promising to thrill as audiences ride out the action set in a car circumnavigating the streets of Waterloo. Robin Linde productions return to VAULT for a third year with The Caravan Theatre bringing a selection of evocative new short plays to intimate audiences of up to nine in a caravan parked on Leake Street.

Lates The festival’s series of Lates promises to lure those seeking a further theatrical fix into the small hours as they revel in a selection of specially curated themed parties including a debaucherous Valentine’s Party, London’s fattest Mardi Gras celebration, a St Patrick’s Day blowout and an evening of funk, soul and Motown as South London Soul Train heads underground. Neverland’s party promises an exhilarating late night adventure while Chivaree Circus host LABYRINTH where revelers will delve into a world full of mind-boggling aerial performances, stupendous circus feats and intimate encounters. Trough London will turn up the heat with with their leather clad installment, and The House of Burlesque: Lock In promises “Showgirl Explosions”, mini-burlesque tutorials, bespoke cocktails and a secret speakeasy for the night Time Out dubbed ‘Moulin Rouge on Acid”.

VAULT Festival’s Directors comment: “VAULT has morphed again to better fit London’s adventurous audiences, and in 2018 our offering is longer, later, wilder, smarter and funnier. Choose from four strands – comedy every night, sixteen enormous themed parties, a huge theatre programme, and weekly film residencies. Mix in our five perfectly balanced bars, and 2018 is laced with unlimited possibilities.. For the sixth year,hundreds of artists present their own edition of VAULT Festival.”

As well as sponsoring the VAULT New Writers Award, Nick Hern Books will partner for the third year to release an anthology of plays selected from the best new writing at the festival. Plays from VAULT 3 will be published on 26 January, to coincide with the beginning of the festival, and will be on sale at the venue, online and in major bookshops. Further details, including the line-up of plays chosen for the anthology, will be announced soon.

FURTHER SELECTIONS FROM THE VAULT FESTIVAL 2018 PROGRAMME:

The Mulligan Collection; Forgiveness, is the inaugural work from Mulligan Theatre and The Forgiveness Project rolling together two plays, a human library, group discussions and academia.

Destination Planet Earth from Soft Machines is an exciting mix of circus and film bringing to life the adventures of a cinema manager and his alien friend.

The Very Important Child from The Mostly Everything People demonstrates human ego development using theatre, dance, sound design and improvisation. More physical theatre and dance comes from Ok, Bye from VAULT sell-out wonders, RedBellyBlack.

Burkas and Bacon Butties is a heart-warming ‘east meets west’ comedy charting a father daughter relationship. WHITE blends spoken word, music and live vocal looping in Koko Brown’s solo show about identity, growing up mixed-race and feeling like an outsider, while Joy, from collective all good artists are dead, explores European and Afro-Caribbean heritage, provoking questions around racism and the exoticization of the black body through lyrical text, contemporary dance and electronic music.

Following a sell out run at Southwark Playhouse, Stardust shines an unflinching light on Colombia, mixing new writing, physical theatre and hand drawn animations in this impassioned investigation into the human cost of the cocaine industry. The Ingenious Gentleman Don Quixote of La Mancha from Little Soldier is an hilarious award winning take on Cervantes’ which sees two feisty señoritas and a downtrodden Englishman take on Don Quixote’s quest. More international work comes from Seemia Theatre with Evros | The Crossing River which fuses musicality, movement and poetic text to shine light on the plight of Syrian refugees, Alien Lands from Momin Swaitat, and Nest from award winning Australian playwright Katy Warner.

RED/WOLF from Rebecca Humphries, (Prom Kween), is a subversive cabaret that twists the tale of ‘Little Red Riding Hood’ through original music and black comedy. More cabaret comes from Scottish sasspot and wayward girl Cat Loud with To the End of the World!, a toast to humanity’s impending doom as well as Tori Scott, who makes her hilarious return to the UK with Thirsty! direct from sell-out performances at The Public Theater, New York and Live at Zedel in London.

Tickets and the full programme can be found at: http://ift.tt/1p28DtZ

http://ift.tt/2kpvDac London Theatre 1

[germanpostwarmodern]

To this day Frits Bless’s book is the only biography of Gerrit Rietveld but when it was published in 1982 it wasn’t very well received: reviewers criticized the absence of Rietveld the human being, valid criticism but one that only tells half of the story. First and foremost Bless’s biography is the story of Gerrit Rietveld the artist, architect and designer including his professional network. The author doesn’t snoop around his tense and complicated family life but focuses on his artistic achievements and developments. Divided into three main chapters Bless follows Rietveld from his humble beginnings in the workshop of his father in Utrecht to his late successes of the 1950s and early 1960s. In between the reader gets to hear about the major issues bothering Rietveld, his activities in all sorts of associations and about his socialist leanings. During the years of German occupation Rietveld also forged German stamps and documents in order to support the Dutch resistance. He himself had been banned from practicing architecture as he refused to enter the German-backed association of Dutch artists.

What is also noteworthy is the fact that Rietveld only by the early 1950s received the attention and appreciation he undoubtedly deserved: with the first retrospective exhibitions of the De Stijl magazine/movement came the insight that Rietveld’s contribution to Dutch design and architecture had been significant, although up to that point he hadn’t received any major public commissions. This circumstance changed consecutively and resulted in an unprecedented number of projects ranging from houses to schools and museums. Due to a deteriorating health and the significantly larger commissions Rietveld in 1961 entered a partnership with Joan van Dillen and Jan van Tricht. Rietveld died from a heart attack on June 25 1964 at his famous house in Utrecht.

At this point one must object contemporaneous reviewers insofar as Frits Bless’s book is a concise and very readable professional biography of Gerrit Rietveld that admittedly isn’t intimate but undoubtedly informative.

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Gerrit Rietveld Academy (1959-67) in Amsterdam, the Netherlands, by Rietveld Van Dillen & Van Tricht. Photo by Kim Zwarts.

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Ecumenical Center (1961-68) in Rotterdam, the Netherlands, by Rietveld Van Dillen & Van Tricht. Both Gerrit Rietveld and Joan van Dillen died before the completion of the building.

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Rijksmuseum Vincent van Gogh (1963-73) in Amsterdam, the Netherlands, by Rietveld Van Dillen & Van Tricht

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Savings Bank (1962-65) in Dedemsvaart, the Netherlands, by Gerrit Rietveld & Jan van Tricht

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Gerrit Rietveld Academy (1959-67) in Amsterdam, the Netherlands, by Rietveld Van Dillen & Van Tricht

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Paviljoen Buitenveldert (1964-67) in Amsterdam, the Netherlands, by Gerrit Rietveld & Jan van Tricht

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Church “De Hoeksteen” (1960-65) in Uithoorn, the Netherlands, by Rietveld Van Dillen & Van Tricht

[elioassuncao]

Liked on YouTube: Startup Grind Cardiff Elio Assuncao with Dr Veerle Van Tricht 29 Jan 2019 #SGCardiff https://youtu.be/NXRsAaLaUgw

[elioassuncao]

Startup Grind Cardiff Elio Assuncao with Dr Veerle Van Tricht Jan 2019 #SGCardiff from Elio Assuncao on Vimeo.

Startup Grind Cardiff Elio Assuncao with Dr Veerle Van Tricht Jan 2019 #SGCardiff. Burnout Expert help you! In her 20-year career as a specialist surgeon, Dr. V has healed an estimated 20,000 patients across the globe. She has worked in Belgium, France, South Africa, Cameroon, Namibia, Australia and the United Kingdom. Veerle is on a mission to empower patients and teach them how to take the key to their wellbeing back. born on 4 March 1968 in the small town of Heist op en Berg in Flanders( Belgium). She became a Medical doctor at the University of Leuven in 1993 and an Ophthalmologist in 1997. Dr V worked as a volunteer for Doctors without Borders and other non-profit organisations, in Africa and Australia, doing cataract surgery in rural villages between 1993 and 2006. An avid scuba diver she swam with sharks in the Blue Hole in Durban, SA, manta rays in Fiji and Thailand and even the elusive whale shark, in Mozambique . She also enjoys snorkeling and feeding jackfish in the Cook Islands. Travel is her main hobby. She worked as a vitreoretinal surgeon in one of the biggest university hospitals of South Africa, in Pretoria. Dr V is a talented public speaker, in several languages, including English, Dutch and French. She has taught medical students and registrars and spoke at numerous conference all over the world.

[londontheatre]

What happens in the underground world of The Litterati should stay underground, and not published in a magazine article that Millie (Eleanor Cresswell) originally intended to file. Quite what happens instead is left for the audience to speculate. It’s not, on balance, necessarily a bad thing to end a show open-ended. I suspect the magazine editor doesn’t pay Millie a penny, and gets someone else to write an article on the subject in question instead – as straightforward as that. But, abandoned by her girlfriend Hattie (Gabrielle Nellis-Pain) on account of infidelity (fair enough), she has also been kicked out of Hattie’s property (I can’t remember whether it was a house or a flat). The ‘family’, as they call themselves, that she has been associating with, have no more room in their inn, so quite where she ends up is also left unresolved.

Roseanna Brear’s Reeda does well as the shy introverted bookworm who comes out of her shell and becomes almost overly articulate, but this sort of character development felt like it has been done before. Think Gator in Memphis The Musical, or Sister Mary Robert in Sister Act The Musical. Too quiet to begin with, but by the end, all they wish to say is loud and clear.

The Litterati, as this collective is known, is led by Dux (Sarel Rose). Aside from the aforementioned Reeda, there’s also Sunny (Mitchell Fisher) and Twix (Andy Umerah) – I have no idea what the etymology of these names are. They live together, though I can’t say what their overall purpose is, not for fear of giving away spoilers, but because I genuinely couldn’t figure it out. This is a young group that hates being labelled as a ‘gang’, but for all intents and purposes, that is essentially what they are. From what I was able to deduce, it appeared to me that they live for the present – ‘carpe diem’, seize the moment, ‘you only live once’, that sort of thing.

At one point, Dux decides they should all go for a riot. Again, what precisely this entails is ambiguous, as is the reason why. Notably, not everyone goes with her, and even more notably, no mention is made again of the said riot. Did it even take place in the end? And why force a riot into the narrative, except to demonstrate some sort of rebellious streak? Elsewhere, the questioning by Dux of Millie’s background and upbringing came across to me as hypocritical and too assuming. While the forefinger is pointed at Millie, three other fingers of the same hand are pointing back at Dux. But then again, who says the protagonist has to be flawless in terms of characterisation?

I do wish this show were a tad pacier overall – I found it hard going at times. The general premise of the group is nothing new: a small band of people, very different, who look out for one another. But I found their insularity very odd, and yet somewhat refreshing, in a world where so many seem to clamour for fame and fortune, Dux and her associates would just like to be left alone to get on with things. That Millie obliges in the end, is really quite admirable.

The problem with their ‘us four, no more’ approach is that it is difficult to have much, if any, empathy with them: “So what?” was the prevailing thought in my head as I left the theatre. As with The Bodyguard (the movie or the musical, take your pick) there are unexpected consequences for the central character that mixes the personal with the professional. The script needs tightening, but this is nonetheless an unusual and thought-provoking play.

Review by Chris Omaweng

“There’s no space for us to create anything. Don’t you see? No allowances, no opportunities. No space. So I’m asking you a question: How do you make space? Hmm? How do you make space for yourself in this world? The answer: You burn.”

Millie lives with her girlfriend, Hattie, who works in insurance in the City. Millie wants to be a serious journalist. At VICE.

Now’s her chance – she’s got to write an investigatory piece about the Litterati, a notorious community of which little is known but rumour. When Millie agrees to spend a week with the mysterious gang her world is blown open and she collides with experiences and people she can never forget.

Pushed underground by a world that didn’t want them, the Litterati live a clandestine existence so far removed from Millie’s sheltered experience of the world. But do those who fall behind always get left behind?

Performances: 25th – 29th Jan 2017 Wednesday – Sunday, 19.30 + Saturday matinee, 14.45 Tickets: £15 VAULT Festival 2017 runs fom 25th January until 5th March at The Vaults, Waterloo. Shrapnel Theatre shrapneltheatre.com Social: @ShrapnelTheatre

http://ift.tt/2k9yvWn LondonTheatre1.com