#perform

[koijikido]

#Vierapril Day 20: Perform ☀️

[lulublack90]

Prompt 23 - Perform

@jegulus-microfic January 23 Word count 762

Previous part First part

‘Knock-knock-knock.’ James woke to a firm banging on his bedroom door. 

“Yeah?” He called out, pulling the duvet up and covering his face. 

“You decent?” The kicker called through the door. 

“Enough,” James groaned. The door opened. 

“Fuck!” The person in the doorway groaned. “James, what the fuck are you playing at?” 

James was far too dozy to deal with questions he couldn’t understand. He popped his head back out of the duvet, cracking an eye open. Peering in the general direction of the door, a tall, skinny blur appeared. 

“Is that you, Remus?” He asked as his hand groped around his bedside table for his glasses. His fingers brushed against the cold metal of the frames, and he shoved them onto his face. The blurry figure instantly became clear. 

Remus was shaking his head at him. “What? What have I done?” Last night was a bit of a blur. He let the flashes of memories play in his mind. Dancing with Lily, falling over Sirius, drinking far, far, far too much and—and… 

He turned his head to the side so fast it gave an audible click. He froze at the sight, eyes wide and jaw dropped. 

“Oh, finally remembered about me, did you?” Regulus looked like he was trying extremely hard to keep a smirk off his face. James’s eyes flashed to Remus. Who had his eyebrows raised at him, waiting for an explanation. 

A thought drifted through his mind. Oh, god, did we do it?! He pulled the duvet up again, checking. He was relieved to see they both had underwear on. He turned to Regulus again, who had been covered by the duvet when James had pulled it up.  

“When did I take my clothes off? I don’t remember doing it.” Regulus leaned over stage-whispering. 

“You told me you were too hot and stripped down before I could blink.” James nodded. Okay, that did sound like something he would do.

“And what about you? Why are you only in your underwear?” Mischief sparkled in Regulus’s eyes. He moved closer, brushing his nose against James’s. His voice lowered, husky.

“You’re lucky I kept these on. Normally, I sleep completely butt-naked.” James collapsed into his pillow, letting out a groan. 

“Can you not?” He moaned. “Remus is standing right there.”

“And he can hear you! Just be glad Sirius is still passed out, and I am the one who came to sort you out.” 

James and Regulus reappeared from under the covers. Both looked sheepishly at Remus. 

“Sorry, Moony.”

“Sorry, Remus.” They both apologised. 

“You’d better be.” The stern look on his face turned to exasperation. “You two have to perform like none of this ever happened. Because believe me, if Sirius finds out you two ended up mostly naked in bed together after how drunk you got James. He’s going to kill you.”

“Wait, kill both of us or just James?” Regulus asked, snickering. He was having a lot more fun than he should have been. 

“Well, of course, just James. He’ll probably only give you his disappointed face. You know, not share his chips with you for a week. Or something.” James looked entirely put out. Regulus reached over and mussed up his hair. 

“Don’t worry, darling. I’ll remember you fondly.” Regulus snickered again, a wicked grin spreading across his face. 

“That, that right there.” Remus pointed between them. “Yeah, you can’t do that. He’ll sniff you out in a second.” Regulus turned his attention to Remus, narrowing his eyes. 

“And what if we want him to find out?” He said petulantly. Remus rolled his eyes. 

“Seriously. You want this to be what you tell him is the beginning of your relationship.” 

“Hey, hey! Who said anything about a relationship?” Regulus threw his hands into the air as though trying to slow everything down in the room. 

“So now he freaks out.” James throws his hands up as well, imitating Regulus. Regulus glared at him, and James stared right on back. 

“Don’t start, James.” 

“I’m not starting anything. You started with the dramatics.”

“Well, I’m sorry. But he started throwing around the big words.” He jabbed his finger in Remus’s direction. Remus hung his head and pinched the bridge of his nose. 

“When you two have stopped bickering…” He stopped, raising his head to the door as it clicked open. 

“James? I don’t feel very well.” Sirius padded into the bedroom to the end of the bed and looked sadly over at James. He stood and blinked a few times, taking in the scene. “Oh, what the fuck!”

Next part

[buddieisgoingcanon25]

I don't think the confession is about Shannon asking for a divorce because that's something we've already known since season 3, it has to be something more unexpected and serious, something we don't know about yet, and I think it will have to do with his difficulty relating to women in the long term and a very big clue is when in season 6 he confesses that she feels like he has to performing.

I agree. It’s gotta be something we don’t know and haven’t seen yet.

[opelman]

Nellie by Treflyn Lloyd-Roberts Via Flickr: P-47 Thunderbolt "Nellie" performs a nice topside pass for the crowds at Sywell during the 2024 Air Show. Aircraft: Republic P-47D Thunderbolt 45-49192 (G-THUN) painted as F4-J "Nellie", of 492nd Fighter Squadron, 48th Fighter Group. Location: Sywell Aerodrome (ORM/EGBK), Northamptonshire, UK.

[annadoucettemusic]

So excited, I’m performing live tonight at Numbers Cabaret here in Vancouver 💛💛

[sowhatifiliveinfukuoka]

Ellen von Unwerth

Perform (2013)

[fymo-blogs]

Warning for flashing below cut!

💫|⚘️|🍿

🪄|🚪|🪟

📺|🎥|📻

Performance stimboard

Event: @stimming-puppet Boardtober Day 29

Themes: Various types of shows

Song:

[thinkminajj]

Nicki Minaj. That’s all!

[bubblepopsims]

there is always two sides..

[yeahlikecarey]

[theoutcastrogue]

Spectacles in Constantinople (other than chariot races)

[by Marcus Rautman]

Reconstruction of early Constantinople

Like any great city, Constantinople was a nexus of social space, civic ceremony, commercial entertainment, and endless diversion. Medieval observers saw a busy urban environment where streets and plazas were regularly taken over by processions, churches and monasteries were filled with clergy and worshipers, and competitive games and performances took place in the open-air hippodrome.

The unruly intensity of enthusiastic crowds could also have unforeseen consequences, and on occasion violence and riots flared. John Chrysostom and other guardians of public decorum warned that attending mass spectacles could lead to laughter, immodest and licentious behavior, impulsiveness, and loss of responsible identity. While theatrical shows were generally improvisational, their potential to critique and undermine social order was clear to officials like Justinian (527–65), who suppressed Christological mimes and withdrew funding for their public performance. Some of the most negative views came from bishops attending the late seventh-century Council in Trullo, whose canons discouraged clergy and monks from attending the hippodrome and condemned exhibitions of mimes, wild animals, and public dancing.

Yet other sources make clear that organized spectacles were inseparable from the intensity of city life, with state-sponsored processions, games, and performances growing out of playful, demonstrative interactions experienced every day in street, market, and home.

On stage

Acrobat, musician and dancer, silver cover of a bowl, 12th century (in the Hermitage)

Theatrical entertainments were another popular spectacle inherited from classical times. Roman citizens had long been in the habit of attending public performances and several open-air theaters are known in early Constantinople. Unlike classical drama, stage productions in late antiquity aimed at visual rather than literary appeal, and ranged from choreographed group performances to individual displays of acrobatic and illusionist skill. One of the most elaborate forms of stage performance was pantomime (pantomimos), a ballet-like retelling of familiar mythological tales known in the third century BC. Commanding public stage or private dining room, a single interpretive dancer assumed well-known character roles by wearing distinctive costumes and trappings. The expressive eloquence of non-verbal performance was reinforced by instrumental or sung musical accompaniment.

By contrast, the less decorous antics of mimes and mummers offered broadly comedic diversion in the tradition of burlesque and slapstick. Expressive mime (mimos) performances had an equally long history, with plots drawn from easily recognized, often transgressive aspects of everyday life: family dramas, mistaken identities, infidelities, crime, violence. Requiring no scenery and few props, mimes moved freely from stage to street corners and taverns, delivering lively action supported by flutes, pipes, lyres, singing, and drums. Acrobats and jugglers appear in different media and are mentioned by late medieval authors. The depiction of small, costumed, and sometimes nude figures on carved ivory boxes of the tenth–twelfth centuries suggests the broad parody and implicit social commentary of playful display.

Like other forms of mass entertainment the theater was viewed by authorities with suspicious tolerance. Chrysostom and others saw the manipulative inauthenticity of dramatic roleplaying (hypocrisis) as inherently blasphemous. Naturally the unpredictable and emotional response to public performance contributed to immorality and political subversion. Performers were seen as inhabiting the social margin; foreigners, slaves, and especially women were regarded as morally irresponsible, even as they were invited to play in the palace itself. Prokopios’ overheated account of Theodora’s stage career likely drew on widespread prejudices about the moral fluidity of the entertainment community as much as its enduring popular acclaim.

On the streets

Broad, porticoed streets were among Constantinople’s most characteristic urban features. While major processions stuck to these primary routes, secondary streets in peripheral quarters saw myriad local celebrations. [...]

Streets were busy throughout the day. Carts and wagons kept to the main roads, with porters carrying their loads through uneven, winding alleys. Food vendors, scribes, and moneychangers lined the porticoes, which were good places to meet people and pass time with friends. Keeping passages clear of debris and lit by torches at night was up to shopkeepers, who might briefly expand their domain by setting benches and tables for customers outside their doors. Floor mosaics, graffiti, and game boards carved into the paving of porticoes reflect the attractions of recreational leisure. Observers note the boisterous conviviality of restaurants, taverns, and baths, where acrobats, illusionists, and jugglers shared their talent at close range. Trained bears, birds, and dogs were always reliable attractions. Mime-like performers and storytellers continued to play back streets and tavernas.

— Marcus Rautman, "Entertainment" in The Cambridge companion to Constantinople / edited by Sarah Bassett. Cambridge University Press 2022

[vintage-tigre]

[lulublack90]

Chapter 4 is up. Sorry, it took so long. Hope everyone enjoys it. 

[beastieclub]

becoming acutely aware of how much im letting my life pass me by while im in this like… braindead death spiral and sometimes i wonder if like im ever going to get to do the things i want to do with my life

[opelman]

Lancaster by Treflyn Lloyd-Roberts Via Flickr: It was so good to see the Battle of Britain Memorial Flight's Lancaster back in the air again following the tragic loss of one of their pilots earlier in the summer. It is seen here displaying over Bournemouth during the 2024 Air Festival. Aircraft: Royal Air Force Battle of Britain Memorial Flight Avro Lancaster B.1 PA474. Location: SS Shieldhall, Bournemouth Bay, Dorset.