#odéon theatre

[postcard-from-the-past]

Odéon Theatre in Paris

French vintage postcard

[paperandsong]

Phantom of the Opera and the Paris Commune in Fic

For those who love Leroux canon and French history, a list of recommended Paris Commune-related Phantom of the Opera fic on AO3:

Pétroleuse by @paperandsong: Pre-Leroux Madame Giry burns it all down.

The Red Scarf by @maze-zen: A look at how the Commune affected the de Chagny and Daaé Families.

The Communist Road is Mine by @paperandsong: A relationship with an anarchist couple during the 1871 Paris Commune draws Erik into events he would typically want no part in. 

The Kiss by @battydings: A horror story with roots in the semaine sanglante.

Notre Dame des Lorettes by @catcorsair:  Erik loves and loses a city, heartbreaking and beautifully written.

Poetically Appropriate Versaillese by Anonymous: Erik doesn't know how to make friends. Sad.

1871 by @flora-gray: 2004 really was set in the most terrible year. The funniest fic on this list.

Phantoms of the Past by @stephanie_bean: Erik is dead, and Christine returns to bury him, but past secrets don't stay that way.

The Academes, Chapter 5: The Contractor, The Communarde, and The Catacombs by @antiquarianne

The Bloody Week by @shinyfire-0: Erik and Nandor/Nadir fondly remember the post-Commune pillaging in this What We Do in the Shadows crossover.

La beauté est dans la rue by @paperandsong: Christine and Raoul occupy the Odéon Theatre during the May 1968 student protests in Paris.

I Am My Own Revolution by @shinyfire-0: Erik is commissioned by Tommy Shelby to do a job in 1920s Birmingham, on the 50th anniversary of the Paris Commune.

If you've never heard of the connection between the Phantom of the Opera and the 1871 Paris Commune, start here.

[opera-ghosts]

The exquisite French tenor Lucien Muratore (1878-1954). 

Lucien Muratore (1876-1954) was a French dramatic tenor whose impressive career spanned some three decades. Born in Marseille, Muratore began studies there as a saxophone and oboe player before switching his focus to voice several months later. Initially pursuing a career as a dramatic actor, the young performer made his debut at the Variétés in Paris at the age of 20. Muratore spent several seasons there, as well as at the Casino in Monte Carlo and the Odéon Theatre in Paris, playing juvenile leads. During this period, he enrolled at the Paris Conservatory, where he continued his vocal studies. Muratore’s operatic debut took place at the Opéra-Comique on December 16, 1902 when he created the role of King Louis XIV in the world premiere of Renaldo Hahn’s La Carmélite. Although Hahn’s new opera was a failure, Muratore’s memorable performance helped launch him to an international career. In 1904, Muratore made his first appearance outside of his homeland, when he sang Werther at La Monnaie in Brussels. During the next decade, the tenor spent most of his time in the major theaters of the French speaking world, building his reputation as an artist of the first rank. Not only was Muratore quite skilled in his interpretations of the leads in such standard repertoire as Faust, Roméo et Juliette, Manon, Carmen, Mignon, Pagliacci, Cavalleria Rusticana and Die Meistersinger, he also sang numerous world premieres of such works as Février’s Monna Vanna, Fauré’s Pénélope, Saint-Saëns’ Déjanire and Massenet’s operas Bacchus, Roma and Ariane. In 1913, Muratore came to the U.S. for much heralded appearances in Boston, Chicago and New York. A North American tour followed, the vehicle for which was Bizet’s Carmen. Performances in Fort Worth, Milwaukee, Omaha, Kansas City, St. Louis, Tulsa and other major cities kept the tenor quite busy, but it was Chicago that would remain his artistic home from 1913 to 1922. 1919 saw the tenor in South America for performances with the Teatro Solis in Montevideo and the Teatro Colón in Buenos Aires. A series of concert appearances with his wife, soprano Lina Cavalieri, were also well received. However, the strain of professional life took its toll and Muratore and Cavalieri separated in 1919. By the early 1920s, Muratore was back in Paris where he remained until his retirement from the stage in 1932. The tenor also made his mark on the big screen, with a starring role in 1931’s “Le Chanteur Inconnu”. Interestingly, Muratore had made previous film appearances during the silent era, including the role of des Grieux in 1914’s Manon Lescaut (opposite Cavalieri in the title role). Although he continued to appear in films well into the 1930s, Muratore primarily focused on teaching. He was briefly the director of the Opéra-Comique in 1944 but was relieved of his duties following the liberation of Paris. Muratore passed away in Paris on July 16, 1954, a few weeks shy of his 78th birthday. Lucien Muratore was the possessor of a sturdy spinto-dramatic tenor instrument which he used to great effect in over 30 diverse roles. He was also one of the finest operatic actors of his generation. His recordings, made for G&T, Odeon, Pathé, Zonophone, Edison, A.G.P.A. and other labels, show a singing actor who used his voice to great effect.

[sysk-ehess]

GRISELDA POLLOCK

Vendredi 14 juin à 18h (heure de Paris)

Friday June 14th 2024, 6pm (Paris time)

@ MSH, 16 – 18 RUE SUGER, 75006 (métro Odéon ou St – Michel)

Griselda Pollock est l’une des figures les plus impressionnantes de celles qui, depuis les années 1980, ont révolutionné l’histoire de l’art en la soumettant au questionnement féministe. Bien au-delà de la question désormais classique du « canon » de l’histoire de l’art, c’est à une réélaboration radicale du cadre même de la discipline, informée par la théorie politique, la psychanalyse et l’anthropologie, qu’elle a consacré une vingtaine d’ouvrages qui sont aujourd’hui considérés comme incontournables parmi lesquels Vision and Difference: Feminism, Femininity and the Histories of Art (1988), Differencing the Canon: Feminist Desire and the Writing of Art's Histories (1999), Encounters in the Virtual Feminist Museum: Time Space and the Archive (2007), After-Affects I After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (2013). Au fil des années 2000, Pollock a déployé un riche programme de recherche, à la fois personnel et collectif, sur le trauma, la représentation après la Shoah, la mémoire et le cinéma. Charlotte Salomon and the Theatre of Memory, publié en 2018, se situe à la convergence de ces deux perspectives. Professeure à l’université de Manchester (1974-1977) puis à celle de Leeds (à partir de 1977), Pollock a dirigé le Centre for Cultural Analysis, Theory and History (CATH) de l’université de Leeds. En 2020 elle a obtenu le plus prestigieux prix international pour les sciences humaines, le prix Holberg "pour ses contributions révolutionnaires à l'histoire de l'art féministe et aux études culturelles". En 2023, traçant les grandes lignes d’une approche entièrement renouvelée de l’historiographie, elle a dirigé un volume d’études consacrées à Helen Rosenau, historienne de l’art et de l’architecture, autrice du pionnier Woman in Art : From Type to Personality (1944). Aujourd'hui paraît enfin en français le classique des classiques, sa première intervention féministe dans l’histoire de l’art, Maîtresses d’autrefois. Femmes, Art et Idéologie qu’elle publia avec Rozsika Parker en 1981.

[EN] Giselda Pollock is one of the most impressive figures among those who, since the 1980s, have revolutionised the history of art by subjecting it to feminist questioning. Far beyond the now classic question of the art-historical “canon”, she has devoted some twenty books to a radical re-elaboration of the very framework of the discipline, informed by political theory, psychoanalysis and anthropology. These include Differencing the Canon: Feminist Desire and the Writing of Art's Histories (1999), Vision and Difference: Feminism, Femininity and the Histories of Art (2003), Encounters in the Virtual Feminist Museum: Time Space and the Archive (2007), After-Affects I After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (2013). Over the 2000s, Pollock deployed a rich, personal, and collective program of research on trauma, representation after the Shoah, memory and cinema. Charlotte Salomon and the Theatre of Memory, published in 2018, lies at the convergence of these two perspectives. Professor at the University of Manchester and then at Leeds University, Pollock directed the Centre for Cultural analysis, Theory and History at Leeds University. In 2020, she was awarded the most prestigious international prize for the humanities, the Holberg Prize “For her groundbreaking contributions to feminist art history and cultural studies”. In 2023, outlining an entirely new approach to historiography, she edited a volume of studies devoted to Helen Rosenau, art and architecture historian and author of the pioneering Woman in Art: From Type to Personality (1944). Todday, the classic of classics, Old Mistresses: Women, Art and Ideology, her first feminist intervention in history published with Rozsika Parker in 1981, is finally published in French.

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : somethingyoushouldknow-request@ehess.fr

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte

[automaticvr]

In ANGELA (a strange loop), the latest creation by Susanne Kennedy & Markus Selg, a woman's life unfolds before our eyes in a space that constantly transforms, switching between real and virtual as we follow Angela through waking and sleeping, being born and giving birth, sickness and healing, ageing and dying. But what makes Angela Angela? With their metamodernistic aesthetic and multimedia approach, Susanne Kennedy and Markus Selg, delve into the fundamental inquiries of existence, identity, consciousness, and the nature of reality. Through their unique artistic lens, they provide a distinctive analysis that explores the experiences of the diseased rather than the healthy. By challenging societal norms and perceptions, they beckon us to question the very fabric of our existence, inviting contemplation of the intricate nuances of human experience and the interconnectedness of our shared realities. CREDITS  Concept, text and direction Susanne Kennedy Concept and stage design Markus Selg Performers Diamanda La Berge Dramm Ixchel Mendoza Hernández Kate Strong Tarren Johnson Dominic Santia Sound design Richard Alexander Soundtrack Diamanda Dramm Richard Alexander Live music Diamanda Dramm Video design Rodrik Biersteker Markus Selg Costume design Andra Dumitrascu Dramaturgy Helena Eckert Light design Rainer Casper Artistic Collaboration & Tours Deputy Artistic Direction  Friederike Kötter  Voices Diamanda La Berge Dramm Cathal Sheerin Kate Strong Rita Kahn Chen Rubina Schuth Tarren Johnson Susanne Kennedy Ethan Braun Dominic Santia Ixchel Mendoza Hernández Marie Schleef Ruth Rosenfeld Production Ultraworld Productions in collaboration with  Something Great  Coproduction Wiener Festwochen (Vienna), Festival d’Automne à Paris & Odéon - Théâtre de l’Europe (Paris), Festival d’Avignon (Avignon), Holland Festival (Amsterdam), Kunstenfestivaldesarts (Brussels), National Theatre Drama - Prague Crossroads (Prague), Romaeuropa Festival (Rome), Teatro Nacional de São João (Porto) and Volksbühne am Rosa-Luxemburg-Platz (Berlin). General Management Rui Silveira, Something Great  Artistic Production manager Philip Decker  Technical Production Manager Sven Nichterlein Tour Production Manager Niki Fischer - Something Great Luca Napoli - Something Great International Distribution  Cathal Sheerin, Something Great Cecilia Kuska, Something Great Rui Silveira, Something Great Supported by Stichting Ammodo (Ammodo Foundation) and the Kulturstiftung des Bundes (German Federal Cultural Foundation) with funding by the Beauftragte der Bundesregierung für Kultur und Medien (German Federal Government Commissioner for Culture and the Media) World premiere: May 11, 2023, at Théâtre National Wallonie Bruxelles as part of Kunstenfestivaldesarts.

[lamilanomagazine]

Emilia Romagna: Si conclude "Come devi immaginarmi" dedicato a Pier Paolo Pasolini

Emilia Romagna: Si conclude "Come devi immaginarmi" dedicato a Pier Paolo Pasolini. Come devi immaginarmi è un progetto dedicato a Pier Paolo Pasolini, ideato da Valter Malosti insieme al critico d’arte, scrittore e accademico Giovanni Agosti, che si inscrive nelle celebrazioni per il centenario della nascita dell’autore (Bologna, 1922). Il titolo è tratto dalla sezione Gennariello in "Lettere luterane", raccolta di saggi uscita postuma, l'anno dopo la morte di Pasolini. Gennariello è un trattato di pedagogia sui generis in cui ci sono, tra l'altro, pagine bellissime su Bologna e gli anni giovanili del poeta. La ricerca parte proprio da questo: come le nuove generazioni "immaginano" Pier Paolo Pasolini? Pasolini è tra i pochi autori del Novecento di cui i più giovani sanno ancora che è esistito: non è stato travolto dall’eclisse di conoscenza che ha portato alla sparizione di un gran numero di voci. Questa sopravvivenza è dovuta – in gran parte – a una leggenda biografica, che ha permesso d’includere il poeta in un pantheon, ristretto e transgenerazionale, che annovera artisti, musicisti, scrittori. Il progetto di ERT aspira a condurre un confronto diretto con l’opera di Pasolini, sfuggendo alle più facili e corrive mitologie del maledettismo. Per la prima volta sono state presentate sulle scene, in una sola stagione, contemporaneamente, l’intero corpus dei testi teatrali che Pasolini ha scritto, pur in alcuni casi rielaborandoli anni dopo, in un ristretto giro di mesi, nella primavera del 1966. I sei spettacoli sono stati affidati, quanto alla regia, soprattutto a giovani registe e registi, mentre gli attori coinvolti non hanno limiti anagrafici. Si è partiti da Calderón, diretto dal regista Premio Ubu Fabio Condemi, che ha incontrato nuovamente le parole di Pier Paolo Pasolini. Lo spettacolo è una delle 9 coproduzioni internazionali prodotte nell’alveo della rete europea PROSPERO Extended Theatre di cui ERT è partner insieme a Théâtre De Liège, Schaubühne (Berlino), Odéon-Théâtre de L’Europe (Parigi), Teatro São Luiz (Lisbona), Göteborgs Stadsteater (Svezia), Croatian National Theatre of Zagreb, Teatros Del Canal (Madrid), Teatr Powszechny (Varsavia) e con la collaborazione del canale culturale| ARTE (Francia) per la promozione digitale. Il progetto è proseguito con Pilade diretto da Giorgina Pi e con Porcile nella versione di Michela Lucenti e il suo Balletto Civile, in una collaborazione inedita con Nanni Garella e i suoi preziosi attori del progetto Arte e Salute. Si arriva ora alle ultime tre tragedie: il parigino Stanislas Nordey, tra i maggiori registi e pedagoghi europei, nonché direttore del Teatro Nazionale di Strasburgo, rilegge Bestia da stile, che Pasolini stesso definì la sua “autobiografia”, identificando nella figura di Jan Palach il suo alter ego, condividendo con il ragazzo del dramma ideali, vita, resistenza, spirito politico e rivoluzionario. Nordey guida in questo progetto gli allievi attori della Scuola Iolanda Gazzerro di ERT. Federica Roselllini e Gabriele Portoghese lavorano su Orgia: questa creazione prosegue idealmente il lavoro di ricerca che ha preso avvio al Centro Teatrale Santacristina nell’estate 2021. Le parole di Pasolini, nella voce di due giovani e già affermati interpreti della scena, risultano nuove e sorprendenti, restituendo la forza visionaria di questo ruvido apologo in versi ma anche la sua concretezza. A chiudere il cerchio è Affabulazione: Marco Lorenzi, che lo dirige, convoca gli archetipi della famiglia di oggi attorno alle ombre delle vicende di Edipo re, in quella che lo stesso Pasolini definì una «tragedia che finisce ma non comincia». È lo sguardo di una nuova gioventù dunque, a fornire una risposta all’attualità inesausta di una lezione etica e politica, che ha segnato più di una generazione. Il carattere del progetto si lega strettamente alla preoccupazione pedagogica di Pasolini, che informa la sua intera attività, dalla scuoletta di Versuta, creata all’indomani della guerra, fino alle lettere a Gennariello, poco prima della morte: l’ossessione per la perdita e la necessità di tenere in vita la memoria e la tradizione (“sono una forza del passato”). Questo ambizioso progetto rappresenta una sfida nel paesaggio della cultura italiana di oggi: una sfida sui contenuti e sulla lingua, anche per le dimensioni, così fuori misura rispetto ai formati correnti. Programma di maggio:  11 -14 maggio 2023 BOLOGNA / Teatro delle Moline Orgia a cura di Federica Rosellini e Gabriele Portoghese 18 - 21 maggio 2023 BOLOGNA / Sala Leo de Berardinis Affabulazione regia di Marco Lorenzi 25 – 28 maggio 2023 MODENA / Teatro Storchi Bestia da stile regia di Stanislas Nordey... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[vuesparisiennes]

The Odéon-Théâtre de l'Europe, at 2 rue Corneille next to the Jardin du Luxembourg, is one of France's six national theatres. Originally built between 1779 and 1782, the present building is the third, following a fire in 1819.

In 1990, it became part of the Union des Théâtres de l'Europe, an alliance of European public theatres promoting European integration through cultural interaction. This is illustrated by the 2014 production of Tartuffe (see banner in photo) by Swiss director Luc Bondy, which he had staged the year before in Austria ... in German.  The Odéon's 2019-20 season will include Uncle Vania (by Chekhov) in Russian, Orlando (by Virginia Woolf) in German, and The Glass Menagerie (Tennessee Williams) in French. Sadly, I've never seen a play there, something I hope to rectify.

[mindyyuan]

View this post on Instagram

A post shared by Mindy Yuan (@missymindyyuan)

#paris #france #odéon #balcons #hotel #terrance #façade #birdview #theatre #travelblogger #mindyyuan Balcony Bash! 🇫🇷🇯🇵🌦 (at Grand Hotel des Balcons Paris) https://www.instagram.com/p/B3FveNmAvaA/?igshid=r1fnu86s67q5

[historical-babes]

Sarah Bernhardt (1844-1923).

French stage actress.

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She starred in some of the most popular French plays of the late 19th and early 20th centuries. She also played male roles, including Shakespeare's Hamlet. Rostand called her "the queen of the pose and the princess of the gesture", while Hugo praised her "golden voice". She made several theatrical tours around the world, and was one of the first prominent actresses to make sound recordings and to act in motion pictures.

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She entered the Paris Conservatoire when she was 16. She left the in 1862 and was then accepted by the national theatre company, the Comédie-Française. Her contract with the Comédie-Française was canceled in 1863 after she slapped the face of a senior actress who had been rude to her younger sister.

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She then entered a period of soul-searching, questioning her talent for acting. During these critical months she became the mistress of Henri, prince de Ligne, and gave birth to her only child, Maurice. From 1864 to 1866, she frequently had trouble finding roles. She often worked as a courtesan, taking wealthy and influential lovers.

Later, Bernhardt was married to a Greek military-officer-turned-actor, Jacques Damala, but the marriage was short-lived, he died of drug abuse. Damala was incredibly cruel to her and delighted in humiliating her.

Throughout her life she had a series of affairs or liaisons with famous men.

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In 1866 Bernhardt signed a contract with the Odéon theatre and, during six years of intensive work with a congenial company there, gradually established her reputation.

During the Franco-German War in 1870, she organized a military hospital in the Odéon theatre.

In 1872 Bernhardt left the Odéon and returned to the Comédie-Française, where at first she received only minor parts.

.

Bernhardt had become an expressive actress with a wide emotional range who was capable of great subtlety in her interpretations. Her grace, beauty, and charisma gave her a commanding stage presence, and the impact of her unique voice was reinforced by the purity of her diction. Her career was also helped by her relentless self-promotion and her unconventional behaviour both on and off the stage.

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In 1880, Bernhardt formed her own traveling company and soon became an international idol.

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In 1905, during a South American tour, she had injured her right knee when jumping off the parapet in the last scene of La Tosca. By 1915 gangrene had set in, and her leg had to be amputated. Undaunted, the patriotic Bernhardt insisted on visiting the soldiers at the front during World War I while carried about in a litter chair.

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In 1922, she began rehearsing a new play. On the night of the dress rehearsal, she collapsed, going into a coma for an hour, then awakened with the words, "when do I go on?" She recuperated for several months, with her condition improving.

She died from uremia.

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Famous roles:

La Dame Aux Camelias

Ruy Blas

Fédora

La Tosca

L'Aiglon

Hamlet

[Submission]

[problematicwelshman]

Baby Sneeb in Spencer’s Book (1994). Directed by Lluis Pasqual. Paris.  Odéon-Théâtre de l'Europe (Odeon Theatre), November 18, 1994.

ORIGINAL TEXT: Le livre de Spencer / mise en scène de Lluis Pasqual. - Paris : Odéon-Théâtre de l'Europe, 18-11-1994

[the-paintrist]

Eugène Samuel Grasset (25 May 1845 – 23 October 1917) was a Swiss decorative artist who worked in Paris, France in a variety of creative design fields during the Belle Époque. He is considered a pioneer in Art Nouveau design.

The Odéon-Théâtre de l'Europe (English: European Music Hall) (formerly the Théâtre de l'Odéon (English: Music Hall)) is one of France's six national theatres. It is located at 2 rue Corneille in the 6th arrondissement of Paris on the left bank of the Seine, next to the Luxembourg Garden and the Luxembourg Palace, which houses the Senate.

1890 poster for the Théâtre national de l'Odéon by Eugène Grasset (1845-1917)

[faustinepau]

L'École des femmes de Molière, mise en scène Stéphane Braunschweig from Theatre Odeon on Vimeo.

L’ÉCOLE DES FEMMES De Molière

sous-titres disponibles en anglais et en français (cliquez sur CC en bas à droite de la vidéo)

avec Suzanne Aubert : Agnès Laurent Caron : Alain Claude Duparfait : Arnolphe Georges Favre : Enrique Glenn Marausse : Horace Thierry Paret : Oronte Ana Rodriguez : Georgette Assane Timbo : Chrysalde

Mise en scène et scénographie Stéphane Braunschweig

Collaboration artistique : Anne-Françoise Benhamou Costumes : Thibault Vancraenenbroeck Collaboration à la scénographie : Alexandre de Dardel Lumière : Marion Hewlett Son : Xavier Jacquot Vidéo : Maïa Fastinger Maquillages / coiffures : Karine Guillem Assistante à la mise en scène : Clémentine Vignais

Réalisation du décor : Atelier de construction de l'Odéon-Théâtre de l'Europe

et l'équipe de l'Odéon-Théâtre de l'Europe

Un spectacle créé le 9 novembre 2018 à l'Odéon-Théâtre de l'Europe

Production Odéon-Théâtre de l'Europe Coproduction Théâtre de Liège, DC&J Créations

Avec le soutien du Cercle de l’Odéon, du Tax Shelter du Gouvernement fédéral de Belgique

Réalisation de la captation Alexis de Favitski

Traduction et découpage des sous-titres : Dominique Hollier Sous-titrage : Juliette Caron

© ODEON-THEATRE DE L’EUROPE - 2019

[sysk-ehess]

MARK FRANKO

Lundi 29 avri 2024 à 19h (heure de Paris)

Monday April 29th 2024, 7pm (Paris time)

@ MSH, 16 – 18 RUE SUGER, 75006 (métro Odéon ou St – Michel)

Mark Franko est un historien de la danse de réputation internationale. Il a renouvelé notre compréhension de la danse baroque autant que de la performance et de la chorégraphie du XXe siècle dont il a étudié particulièrement les relations avec le champ politique et la constitution des collectifs. Depuis Dancing Modernism/Performing Politics en 1995, il a publié Dance as Text: Ideologies of the Baroque Body traduit en Français par les Éditions de l’Éclat sous le titre La danse comme texte : Idéologies du corps baroque ; The Dancing Body in Renaissance Choreography: Kinetic Theatricality and Social Interaction (2022) ; The Work of Dance: Labour, Movement and Identity in the 1930s (2002) ; Martha Graham in Love and War : The Life in the Work (2012 )et, en 2020, The Fascist Turn in the Dance of Serge Lifar: Interwar French Ballet and the German Occupation. Il est aussi le co-éditeur de Acting on the Past: Historical Performance Across the Disciplines (2000). En 2018 une anthologie de ses écrits a été publiée par Routledge : Choreographing Discourses: A Mark Franko Reader qui permet de retrouver les nombreux articles qu’il a publiés dans Discourse, PMLA, The Drama Review, Res: Anthropology and Aesthetics, Theatre Journal… Mark Franko est professeur de Danse et président du département des Arts du Théâtre de l’Université de Californie, Santa Cruz. Mais Franko a aussi poursuivi une carrière de danseur et de chorégraphe, d’abord (1964-1969) dans le cadre du Studio for Dance, à New York, un bastion précoce de la danse post-moderne auquel il a consacré un livre, Excursion for Miracles: Paul Sanasardo, Donya Feuer, and Studio for Dance. Avec sa propre compagnie, NovAntiqua, fondée en 1985, il a travaillé le répertoire classique autant que la restitution des danses du Bauhaus par exemple. Son œuvre de chorégraphe a obtenu le soutien du National Endowment for the Arts, the Harkness Foundation for Dance, the Getty Research Center for the History of Art and the Humanities, the Zellerbach Family Fund and the New Jersey State Council on the Arts. NovAntiqua s'est produite au J. Paul Getty Museum (Malibu), au Berlin Werkstatt Festival, à la de la Torre Bueno Award Ceremony (Lincoln Center, New York), au Mueée d'Art de Toulon, à l'Opéra de Montpellier,au Lincoln Center Out-of-Doors Festival, aux Princeton University Theater and Dance Series, au Haggerty Art Museum (Milwaukee), et le ODC Theatre San Francisco.

[EN] Mark Franko is an internationally renowned dance historian. He has renewed our understanding of Baroque dance as much as of twentieth-century performance and choreography, whose relations with the political field and the constitution of collectives he has studied in particular. Since Dancing Modernism/Performing Politics in 1995, he has published Dance as Text: Ideologies of the Baroque Body, translated into French by Éditions de l'Éclat as La danse comme texte: Idéologies du corps baroque; The Dancing Body in Renaissance Choreography: Kinetic Theatricality and Social Interaction (2022); The Work of Dance: Labour, Movement and Identity in the 1930s (2002); Martha Graham in Love and War: The Life in the Work(2012 )and, in 2020, The Fascist Turn in the Dance of Serge Lifar: Interwar French Ballet and the German Occupation. He is also the co-editor of Acting on the Past: Historical Performance Across the Disciplines (2000). In 2018, an anthology of his writings was published by Routledge: Choreographing Discourses: A Mark Franko Reader, which brings together the many articles he has published in Discourse, PMLA, The Drama Review, Res: Anthropology and Aesthetics, Theatre Journal... Mark Franko is Professor of Dance and Chair of the Department of Theatre Arts at the University of California, Santa Cruz. But Franko has also pursued a career as a dancer and choreographer, first (1964-1969) with New York's Studio for Dance, an early bastion of post-modern dance to which he dedicated a book, Excursion for Miracles: Paul Sanasardo, Donya Feuer, and Studio for Dance. With his own company, NovAntiqua, founded in 1985, he has worked on the classical repertoire as well as the restitution of Bauhaus dances, for example. His choreographic work has been supported by the National Endowment for the Arts, the Harkness Foundation for Dance, the Getty Research Center for the History of Art and the Humanities, the Zellerbach Family Fund and the New Jersey State Council on the Arts. NovAntiqua has appeared at the J. Paul Getty Museum (Malibu), the Berlin Werkstatt Festival, the de la Torre Bueno Award Ceremony (Lincoln Center, New York), France's Toulon Art Museum, the Montpellier Opera, Lincoln Center Out-of-Doors Festival, the Princeton University Theater and Dance Series, the Haggerty Art Museum (Milwaukee), and ODC Theatre San Francisco.

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : somethingyoushouldknow-request@ehess.fr

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte

[citronsdor]

Cube | Odéon @theatreodeon #theatre #odeon #theatredelodeon #show #spectacle #paris #parisien #parisian #architecture #archilovers #architecturelovers #facade #art #classical #neoclassical #neoclassicism #ville #urban #city #jaimeparis #parismaville #iloveparis #secretparis #history #lockdown #confinement #emptystreets #street #streetview #rue (à Paris, France) https://www.instagram.com/p/B_jrWTCIKx4/?igshid=1tcs83dvf59jc

[thecommonbirb]

Lena headcanons because I love my goth duck daughter and I think about her a lot

In her early life Lena and Magica thought of her as just a shadow with a 13yr old duck shaped shell

She does eat and sleep but not as much

Before Lena chose the name Lena, she simply referred to herself as Magica’s shadow or just “Shadow”

She had no pronouns just “it”

“Shadow” didn’t really have much of a personality during the first couple of years and was the perfect puppet. The plan was wait until there was an eclipse at duckburge, steal the dime and bring back Magica, it was just a waiting game. So, the two of them would travel around following eclipses so that Magica wouldn’t fade away.

There was a total of two eclipses scheduled to happen within a few years of each other in Paris, so that’s the longest they’d stayed in one place.

Paris was bright, beautiful and exciting. The longer “Shadow” spent in Paris the less of a mindless drone “it” became. It’s were “it” learned to like and dislike things.

Lena loves theatre and musicals, having grown to love them as she used to sleep in the attic of the Odéon-Théâtre de l’Europe.

Lena used to love getting lost in Paris, just wondering around the streets letting life take her where ever she ended up (to this day she would say never use a map when in Paris)

Lena used to get herself mixed up in the magic underground of Paris, handing out in alchemist shops and charm casers antiques stores.

Lena can’t stand seers and summoners. Seers are super judgey, and are the first to call Lena out for not being real while most summoners are jerks (ie Magica )

Lena hates Bouillabaisse and anything to do with fish. She insists snails count.

Lena loves quiche and any type of pastry, as she used to know a really nice baker who would leave old scones out for “the strange little girl who makes bracelets for her” (charmed items to ward off evil).

Lena hates boarding schools but that’s were she was able to get food and board for most of her life.

The only boarding school Lena didn’t mind was her last one before the events of the series in Paris where she met her first crush.

Lena got kicked out when spray painted the principal’s office because the principal suspended them (lena’s crush)

Lena loves Paris because that is where Lena was “born”

Lena chose her name because she liked to irony of a shadow having a name that literally means bright

Once Lena gets her body back is an actual duck body and not a shell, so she can age now

Beakley, Donald and Scrooge (and eventually Della) all individually decide to adopt Lena but she’s legally Scrooge’s ward as he as the money, but they are all her parents.

Between the everyone finding out Lena is alive and them getting her body back Lena hopes between everyone’s shadow using the time to bond with everyone not just Webby.

By the time she gets her body back the boys have already started calling her big sis

Lena says she hates it but she’s lying

Lena takes the name Le Strange as a testament to the fact she’s always been a little weird but also because of her love for Paris

Might add more later who knows