#the camaraderie between women in theatre/art???

[izloveshorses]

okay but like,,, why is holiday spectacular actually Good

[blschaos3000-blog]

Its 10:46 pm warm/dark/birthday

Welcome to “8 Questions With……” Its been quite a week to say the least for the cheetah and myself. First we got to share the new teaser for “Kill Mode” and just when things couldn’t get more exciting,we landed this interview with Irish film director Aislinn Clarke whose debut film “The Devil’s Doorway” made our “Best of the Year“list last year where it landed in 8th. Aislinn’s film has been winning awards for the film and for its director all over the world and she has been invited to present and speak on her film as well. Watching her on FB as she catches one plane after another speaks to the power of her vision and insight into some of the horrors that Ireland has suffered at the hands of the Catholic Church from the not so distant past. Aislinn is the first female writer-director to make a film in Northern Ireland which is no easy task,I can assure you. Aislinn has both her BA and Master’s in film and while “The Devil’s Doorway” is her debut film,she has filmed a dark tale called “Childer” that the cheetah and I will be reviewing shortly. This interview represents a huge step forward for me and I’m very grateful that Aislinn agreed to chat with us. I mentioned how hard it was her to make her film in Northern Ireland,a year later and many awards later including several”Best Director” awards,Aislinn still hasn’t even been interviewed in her own home town. Well,their loss is everyone else’s gain as far as I’m concerned. So let’s get to it and enter through the Devil’s Doorway to Aislinn Clarke her 8 Questions…….

  Please introduce yourself and share a little of your background.

I’m Aislinn Clarke, a writer-director from Ireland. I’m a film-maker, a theatre director. I’ve made stuff for radio and I’m a lecturer at Queen’s University, Belfast. If it’s a form of story-telling, I’ve done it and I’ll probably do it again.

How did you begin your journey into becoming a director?

My career in film-making began in childhood. My dad loved gadgets and bought a camcorder very early on. We went to visit a local castle one day and I talked him into filming me dangling from a ledge over a huge drop. It was all forced perspective and trick photography and I was perfectly safe, but we were able to bring it home and scare the life out of my mum. I was standing right beside of her, but there was part of her still terrified that something would happen to her baby.

Coming from my background – a girl from a working-class family from the Irish border during the Troubles – it didn’t look there was any chance of me going on to make films and there wasn’t much support, but I didn’t want to do anything else.

What three people influenced you the most professionally?

After seeing her films at university, the Irish experimental film maker, Vivian Dick, inspired my early work – they were self-contained, solitary, chance-based works. At that time, I was also deeply influenced by one of my tutors, Sam Rohdie, whose analysis of film, of composition, and of performance, opened up film for me considerably. However, the biggest influence on my film-making was my father, Johnny Clarke, who died during pre-production on The Devil’s Doorway and to whom the film is dedicated. All this people taught me something about the integrity of film and of the art you’re making, but my dad said it best: “Tell the truth and shame the Devil.” However you’re approaching your work – whether it’s film or my dad’s job as a breadman – you’ve got to come at it with truth and honesty.

What was your first film and what was the experience like for you?

My first films were made when I was a student. They were small, experimental pieces, shot on super 8 film, treated with dye, food colouring, and whatever else I could use to create strange effects. The film had to go to Luxembourg in order to be processed, so it would be weeks before I saw the result of my work. It was all very solitary, heavy focused, which I loved, but, in lots of ways, it is completely different to my experience of making a feature film.

Have you always been a writer and how does one write a screenplay? Was it hard to mix real life horror with movie horror?

I have always been a writer. My first poem was published when I was 18 and then I never wrote another one. I tended to flit from one form to another, but the screenplay is where I feel most at home. I’m a dreamer – I dream up a lot of ideas – and I find the screenplay format is ideal for capturing dreams: it threads together the images, the feelings, and atmosphere that comprise a dream, but structure it into a story. That’s how I approach writing stories: I take my original idea, theme, feeling, or atmosphere, test it against the opposite idea or feeling and find a way to resolve those two things.

Mixing real life horror with movie horror shouldn’t be a challenge. Movie horror has to have some sense of the real to be effective, it merely heightens it, refines it: Tell the truth and shame the Devil.

What inspired you to draw upon the Magdelene laundries for “The Devil’s Doorway”? What was filming at an actual laundry like and how did the setting affect your writing of the story?

The producer of the film approached me with a paragraph idea of about a film set in an abandoned laundry that he wanted to make. However, the Magdelene laundries were an eerie presence in my life and the lives of most women in Ireland for a long time. I had done research on an unproduced documentary, speaking with lots of people who had experienced the laundries first-hand or had family there. I had personal connections myself. A friend of my mother’s had been put in a laundry when she was 13 and my father used to deliver bread to the local laundry – he hated it there! When I was 17, I had my son, the year after the last laundry closed, so I felt very close to these women and wanted to make a film that spoke to the horrific experience of women in Ireland. I went back to the producer telling I wanted to make the film, but it should be in a functioning laundry, in the heyday of those institutions – the 1960s – and we should point the finger of blame at the right people.

We didn’t actually film in a laundry, although a few such buildings still exist. We filmed in a former linen mill, linen being Belfast’s primary industry during its brief window of prosperity. However, the conditions that the millgirls – the millies, as they’re known – worked through weren’t particularly humane either.

Did you meet any resistance from the Catholic Church about the subject matter?

Not really. The church in Ireland knows what it has done. Its powerful grip has loosened and I think they try not to draw much attention to such controversy. That’s how they’ve avoided ever issuing a meaningful apology – let alone reparations – to the many people whose lives were ruined by the laundries, by the borstals, by deforming operations, and sexual abuse in Ireland.

You became part of history by being the first Irish woman to direct a horror feature film –What are you feelings and emotions knowing this? Have you always love horror?

I’m the first woman in Northern Ireland to direct a horror film, certainly, and I wrote it as well. On the island of Ireland – which comprises Northern Ireland and the Republic of Ireland – a handful of horror films have been directed by women. Certainly not many. And I am lucky that mine seems to have received a lot of international attention and success. There is a tendency to focus too much on firsts and not on follow-ups, so my main feeling around this is my determination to keep going and to encourage more female film-makers and horror film-making in both parts of Ireland.

I think a huge part of “The Devil’s Doorway” effectiveness was in its casting,how did you go about in getting your cast?

Northern Ireland is a small place with a small acting community. I was familiar with most of the cast from my work in the theatre – either I had worked with them or my husband had. Through a combination of personal connection, casting agents, and emails out of the blue, we got our cast. I think it was their wide range of experience in film and theatre that made their performances so effective. We spent a week in rehearsals and they were able bring visceral, dramatic life to the characters. There was a great sense of camaraderie, we were making an important film that give a metaphorical reality to the horrors these women experienced.

10. You have expressed frustration with how some “critics” who didn’t understand your story and just attacked it instead. Why do you feel there is a disconnect between film directors and critics? 

Artists and critics approach the work from completely different positions. The artist begins with an idea that they shape into a complete form, but the finished work always falls short of the idea. The critic begins with the complete article, then tries to work back to the idea. There will always be a distant between them. They are taking part in two different conversations. There is no point in an artist reading the reviews, but there is a tendency among some online commentators to make sure the creator knows their opinion. They will tag the creator in their take, but their take isn’t helpful to the creator, because the film is already made, and the commentators are imagining making film-making decisions under ideal artistic conditions, rather than the actual conditions of film-making.

I agree that some commentators came to the film from an odd perspective. Some felt that the reference to the Satanic offered the Church an excuse, rather than being a blunt accusation directed at the Church, while others – rightly – felt that there was a feminist bias in the film, while not seeing that their gut rejection of that comprised a bias of their own. That said, the vast majority of viewers and commentators have been very enthusiastic and have been able to appreciate the historical nature of the film, the political message, and the artistic decisions.

What was it like working with IFC Midnight in getting “Doorway” released? How did they get involved?

IFC Midnight came onboard very soon after the film was finished, at around the same time that we agreed to have the World Premier at the Seattle International Film Festival. IFC were a pleasure to work with. They care about horror films and they care about the film-makers and they were so important in terms of the films visibility in the US.

(This is Moose,we had to include him)

What is next for you, Aislinn?

The film industry is a dynamic business and it is hard to know when the money in fall in place for the next project. I have several things in development, all of which I’m very excited about: a post-apocalyptic horror about depression; a black magick battle between neighbours; a Irish folk horror; and a TV thriller. However, which will be next is all a matter of timing and the darkside of the industry.

  What three films scared you the most growing up?

I saw The Exorcist when I was seven – being a Catholic, it felt very real at the time. I saw Nightmare on Elm Street not long after and it had a lasting impact, especially the bodybag scene. However, nothing there, I think, was quite as terrifying as the Wheelers in Return to Oz.

The cheetah and I are flying in to Belfast to enjoy a Guiness with you and watch your latest movie but we are a day early and you’re our tour guide,where are we going and seeing?

  I’m very lucky to live on Ireland’s ragged and Gothic north coast – you might recognise some of it from Game of Thrones. If we were so fortunate as to get one of our rare sunny days, I would take you and the cheetah along the Victorian-built Coast Road, stopping along the way at Islandmagee, site of the last witch trial in Ireland; the Druid’s Altar; the dramatic Tor Head; the Dark Hedges; the mermaid’s cave below Dunluce Castle and the remains of Dunseverick Castle; the abandoned manor house at Cairndhu and the eccentric house of the hermit artist, Newton Penpraze, at Ballintoy harbour called Bendhu; the Marconi history and the puffins on Rathlin Island; the Giant’s Causeway is there.If you want to see that as we speed past it toward Mussenden Temple, the occult folly of the mad Earl Bishop of Londonderry. It should only take us a few hours and then we can stop of at the Bushmills distillery, if the cheetah drinks.

I like to not only thank Aislinn for taking the time off her VERY busy schedule to chat with me but also making a movie that everyone should see in “The Devil’s Doorway”. I am sure that Aislinn will continue to be a pioneer and inspiration for other women to rise up and start their own films,be it a horror tale,family drama or wherever their vision takes them. Because of Aislinn,the path has been laid out for future filmmakers and storytellers to follow.

Aislinn is active on her growing InstaGram page. You can also follow her on Twitter. See what Aislinn is doing next via her IMDb page.

Thank you as always for supporting my blog and the cheetah and I welcome all comments and feedback.

8 Questions with…………..film director Aislinn Clarke Its 10:46 pm warm/dark/birthday Welcome to "8 Questions With......" Its been quite a week to say the least for the cheetah and myself.

[nyfacurrent]

Artist News | Fiscal Sponsorship

There’s plenty of art to see and experience this June, including books, films, and artworks by Fiscally Sponsored artists!

With Memorial Day behind us, summer is kicking into full swing. Enjoy the warm weather with celebration and cheer for the array of creative work being presented by NYFA’s Fiscally Sponsored artists and organizations.

Bask in the Sun

Join Caribbeing at Prospect Park in Brooklyn as they celebrate National Caribbean-American Heritage Month alongside the Prospect Park Alliance. Events include an art installation with artists Devin Osorio and Tania Balan-Gaubert; pop-up eateries at Smorgasburg; disco nights on skates under the stars; and Prospect Park Soiree, an outdoor community party. Learn more and RSVP to attend the events here.

Read and See

Anna Deavere Smith’s documentary theater production and HBO Now series Notes from the Field, which dramatizes accounts of students, parents, teachers, and administrators caught in the school-to-prison pipeline, is now available in book form. You can purchase Notes from the Field here via Amazon.

Brittany Prater’s Uranium Derby will have its New York premiere at The Art of Brooklyn Film Festival on June 9 at 3:00 PM at St. Francis College (180 Remsen Street, Brooklyn, NY 11201). The film revolves around a young women’s investigation into her hometown’s secret involvement in the Manhattan Project and the topic of toxic nuclear waste.

Leslie Arlette Boyce, project director of Beauties: As Seen by Others/And Then What Is, is featured in Let’s Face the Music, a dance-inspired art exhibition at El Barrios’ Artspace PS109 (215 East 99th Street, New York, NY 10029) from June 18 - June 30. The project is a living conversation about multiculturalism, offering a combination fo live dance, aerialists, and photographic composites accompanied by original music.

Three Cheers

Congratulations to the following Fiscally Sponsored projects!

Alison Cornyn’s Incorrigibles received a Telly Award for the documentation of girls who were incarcerated at the New York State Training School for Girls. You can watch the film here.

Shamel Pitt’s Black Velvet and “haunting duet” with Mirelle Martins is beautifully reviewed and chronicled in The New York Times. The multidisciplinary performance art work aims to share and reflect on the colorfulness of blackness in a relationship of love, compassion, and camaraderie.

Harry Mavromichalis’s Olympia, about the Academy Award-winning actress Olympia Dukakis, won “Best Documentary” at Hunter Mountain Film Festival. It will screen next at Los Angeles Greek Film Festival on June 8 at 5:45 PM at Rigler Theater at The Egyptian Theatre Hollywood (6712 Hollywood Boulevard, Los Angeles, CA 90028). For tickets, click here.

Flavio Alves’s The Garden Left Behind received a stellar review from rogerebert.com for a “finale that is as haunting as it is humane.” The film, which traces the relationship between young Latina trans woman Tina and her grandmother Eliana as they navigate Tina’s transition and struggle to build a life for themselves as undocumented immigrants in New York City, screens at the San Francisco International LGBTQ+ Film Festival on June 25 at 4:00 PM at Roxie Theater (3117 16th Street, San Francisco, CA 94103). For tickets, click here.

Are you an artist or a new organization interested in expanding your fundraising capacity through NYFA Fiscal Sponsorship? We accept out-of-cycle reviews year-round. No-fee applications are accepted on a quarterly basis, and our next deadline is June 30. Click here to learn more about the program and to apply. Sign up for our free bi-weekly newsletter, NYFA News, for the latest updates and news about Sponsored Projects and Emerging Organizations.

Image: Courtesy of Flavio Alves and The Garden Left Behind, Image Credit: Samantha Bringas

[vileart]

Dramaturgy Go Nowhere: Julie Shavers @ Edfringe 2017

Black Rocking Chair Productions Proudly Presents

Studio One - Assembly George Square Studios, George Square, EH8 9LH

TIME: 1:25pm 

DATES & PRICES: 3rd-28th August (not 14th or 21st)

£14-12. Previews @ £8.

From Black Rocking Chair Productions and critically acclaimed playwright Julie Shavers comes a brand new black comedy and a deliciously dark script for this year’s Fringe-goers. 

Workshopped under the guidance of Pulitzer Prize winner Paula Vogel at the esteemed Sewanee Writers Conference, Shavers’ new comedy satirizes the extreme competition and achievement-obsessed culture of Los Angeles. Lala Land isn’t all sunshine and rainbows; it’s surveillance by the neighbours, the police and the PTA.  In a world where strangers snap cell phone videos of you for leaving your child in the car, or call the cops if your kid walks home alone from the playground, it can feel as if everyone is out to get you. 

Mary Go Nowhere is an absurdist take on trying to get by as a parent in LA, where if the droughts, fires and earthquakes don’t get you, your fellow parents will.  Mary’s 3 year old son curses, carries a gun and brings spiders to school.   Trying to keep him enrolled and keep up with the Joneses has got Mary at her wit’s end.   This is a story of one October in Los Angeles, where the weather and residents are hot and mean, and Mary is going nowhere.  

What was the inspiration for this performance?

I was inspired by being new to Los Angeles. It's such a strange and varied place from the landscape to the people. Also the current social climate in the US is totally weird. Everyone is watching everyone else and cataloguing grievances along the way. There seems to be a lack of trust and camaraderie. Like everyone who is different is dangerous. And everyone is different. 

Is performance still a good space for the public discussion of ideas? 

Absolutely. My work is very personal. I write what I see. The little things that are ignorable in real life show up more clearly under the magnifying glass of theatre. I think this effect is greater when you experience it in a room full of people. 

How did you become interested in making performance?

My parents were musicians and I began singing and dancing at a very young age. I wrote my first play when I was eight years old. It's what I've always done. Nothing moves me like live performance and I want to give that experience to others.

Does the show fit with your usual

productions?

My last several shows have been more spectacular, in that they have included a lot of music dance and multimedia. This play is more of a story. A very funny, dark and twisted story, but more about relationships than fanfare. Until the end at least. 

What do you hope that the audience will experience?

I hope that the audience will laugh. Maybe that they'll recognize something that makes them feel their own humanity. Maybe they'll hate me. It's hard to know. 

What strategies did you consider towards shaping this audience experience?

The cast is really important to this play. We have chosen people who understand comedy and can make it fun for the audience. We are also committed to creating a highly theatrical experience. Something different than you might see on screen. 

This production reunites director Paul Urcioli and star Dan O’Brien, who return to the Fringe for the first time in 17 years following their 2000 Scotsman Fringe First winning, highly acclaimed production of Brian Park’s Americana Absurdum. Mike McShane has now been confirmed as cast member, watch this space for further cast announcements! 

Paul Urcioli (director)

The main acting teacher at David Mamet's Atlantic School for the last 20 years, Paul has appeared in numerous Hollywood movies including Viral, The Amazing Spiderman 2, The Wolf of Wall Street, Adult Beginners, Shelter, Thanks for Sharing, Morning Glory, 3 Backyards as well as countless TV series; Elementary, Blue Bloods, The Americans, The Blacklist, Person of Interest, Unforgettable, Homeland, The Good Wife, Golden Boy, Royal Pains, The Unusuals, Cupid, Fringe, Cashmere Mafia, Six Degrees, Conviction, Law and Orders, Third Watch, Sex and the City, All My Children, The Guiding Light and a recurring role on the CBS drama Queens Supreme.  He’s currently producing the feature Phoenix to be directed by Amy Redford.

His New York Theatre credits:  Point Last Seen (Atlantic Theatre Company 2nd Stage), The Invitation (Ohio Theatre), Goner, Sexual Perversity in Chicago, (The Present Company) Over the River and Through the Woods (The John Houseman), Americana Absurdum (Lucille Lortel and P.S. 122) Greg Kotis’ Eat the Taste (Barrow Street Theatre).  Internationally:  Americana Absurdum (Edinburgh Fringe First Winner 2000) and at the Menier Theatre in London in 2004. 

Directing credits include an all-female version of The Learned Ladies (Cake Productions and Ateh Theatre Group), Reckless, Weekend at an English Country Estate (Ateh), Revenge of the Space Pandas, Our Town, The Devil & Billy Markham, Twelfth Night, Bridezilla Strikes Back (NY Fringe Festival Award Winner), Brian Parks’ Suspicious Package (HERE), The Rimers of Eldritch, The Women, Pullman Car Hiawatha, Harm’s Way, Goodnight Desdemona, Good Morning Juliet.  

Paul has taught Acting, Improvisation, Sketch Comedy and On-Camera Technique at the Atlantic Theatre Company Acting School, PACE University, The Tom Todoroff Conservatory and On Camera Technique at The Matt Newton Acting Studio and was an Artist in Residence at Oberlin College teaching acting, movement, improvisation and performing with members of the Royal Shakespeare Company.  

JULIE SHAVERS (writer)

“Indie Theatre All Star Julie Shavers,” (nytheatre.com) is a playwright, actress, choreographer and mama from Shelbyville, TN.   In 2014 she participated in the Sewanee Writer’s Conference as a Tennessee Williams Scholar with Paula Vogel and Dan O’Brien. In 2006 she participated in the Royal Court Theatre’s New York residency with Simon Stephens and was a finalist for the Emerging Artists program at the Public Theatre.  Recent productions of her work include Silver Bullet Trailer (Ohio Theatre 2008), Go Robot Go (The New York International Fringe Festival 2004), Sunshine on a Monkey’s Balls (Vineyard Theatre 2004), The Secret Life of Plants (The American Globe Theatre 2003), The Kitchen is Small (The Planet Ant Theatre, Detroit 2003) and Lips and Assholes (The Red Room, NYC 2002).  She currently lives as a minivan hobo with her husband and three little boys somewhere between New York, Los Angeles, Virginia and Tennessee. And just between us chickens, Tennessee is still her favourite.

As an actress, The New York Times praised "the compelling Julie Shavers" for her work as the title character in Len Jenkin's Margo Veil at The Flea. Other acting credits include Adam Bock's Three Guys and a Brenda at the Lucille Lortel and Julia Barclay's multi-genre collaborative Word to No One, produced by the Present Company at Siti Company in NY and the Camden People’s Theatre in London.

DANIEL O’BRIEN

Dan O’Brien is a Los Angeles based actor, director, voice over artist and producer.   He has worked with Academy Award winning writers and directors from Aaron Sorkin to Erol Morris, but also in church basements, fringe festivals and community arts centres all over the world.

TV credits include Grey’s Anatomy, How I Met Your Mother, and two seasons as Mark on the NBC primetime sitcom Whitney (aired in the UK on Comedy Central).   Dan’s TV experience has given him the opportunity to work with award winning talent like John Cleese, Ben Stiller, James Burrows, Andy Ackerman, and more. 

He earned a Scotsman Fringe First Award for his work in America Absurdum by Brian Parks at the 2000 Edinburgh Festival and has since worked on numerous productions in theatres in New York and London including The Atlantic, The Flea, The Vineyard, The Ohio, and The Camden Peoples Theatre.

He and playwright Julie Shavers first met when he auditioned for a play she wrote in 2002.  Since then, they have produced a half a dozen critically acclaimed plays, married, and had three beautiful sons.  

MIKE McSHANE 

Four time 2017 Emmy nominated (inc. Best Actor) American actor, singer and improvisational comedian, Mike was an original regular contestant on Whose Line Is It Anyway? on Channel 4. Other TV credits include Seinfeld, Malcolm in the Middle and Doctor Who. He played Friar Tuck in Robin Hood: Prince of Thieves alongside Kevin Costner, provided the voices for Tuck and Roll in Disney’s A Bug’s Life, and has starred in various Fringe productions over the years, including the highly acclaimed Talk Radio in 2006. 

CHRIS GRACE 

Chris previously originated the role of Christian Grey off-Broadway in 50 Shades! The Musical, co-wrote and performed in Fringe smash-hit Thrones! The Musical Parody, and performs regularly with Baby Wants Candy. His TV credits include Superstore, This Is Us, Idiotsitter, The Thundermans, Serious Music. Film: That Awkward Moment. He earned his BFA from University of North Carolina School of the Arts. 

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[nyutheatrepractices]

It Rained On Our Parade Today

by Ellie Harrison

(paradegoers with umbrellas following the start of the rain)

The San Sebastian Festival - or SanSe for short - seems to an outsider like a huge party; as one member of our group put it, “this is like Mardi Gras on steroids!” What many people may not realize, however, are the rich cultural and historical traditions surrounding the festival that have given way to the highly populated, multistage madness that one sees today. 

Every year on January 20th, the Catholic Church holds a feast day to celebrate the life of San Sebastian, an early Christian saint and martyr. Sebastian, despite normally being portrayed as tied to a tree and shot with arrows, did not die of this cause; rather, he was clubbed to death after trying to warn the Roman Emperor at the time, Diocletian, of his sins. Saint Sebastian is the patron saint of archers, the plague, and soldiers.

(San Jose Church on Calle de San Sebastian in Old San Juan) 

The Festival of San Sebastian was started in the 1950s by Father Juan Manuel Madrazo, the priest of the San José Church on Calle de San Sebastian. The San Jose Church, pictured above, is the second oldest church in the Americas - we walked by this church on the day we visited La Perla with Tito Otero but did not go inside. Father Madrazo instituted this festival to celebrate the life of Saint Sebastian on his feast day as well as to raise money to repair the church. In 1970, it was instated as an annual event, and over the past 50 years, the festival has grown in size and in notoriety until it has reached today’s proportions, with over 200,000 people frequenting Old San Juan to listen to music, mingle with local artists, eat delicious (mostly fried!) food, and party. The SanSe of present day runs from the third Wednesday to the third Sunday every year, and shows off many aspects of Puerto Rican culture and heritage. It officially starts today, Thursday, January 17, with a parade and opening ceremony.

Through Deborah’s mysterious connections (I swear, between her and Rosa Luisa, they know everyone on the island!), the masks group was offered a space in the parade. Deborah was additionally generous enough to extend that offer to the physical theatre group, with the condition that they also “mask up”. As assigned blogger for the day, I declined the offer to put a mask on but agreed to accompany the group through the parade. We arrive for the parade around 4:30 pm, stepping out of the doors of El Cascaron and immediately into the line up. 

(the fearless Macanuda directing her fellow masks to suit up and get into formation)

Deborah immediately began maneuvering everyone participating into two lines and organizing them from shortest to tallest. Behind our group, men and women in stilts were laughing and joking, swinging each other around with effortless balance that I could only hope to ever achieve. Directly in front of us, there was a band and men wearing capes and masks (see below).

(our parade buddies - not pictured: the large metal box that was being dragged along the ground to hype everyone up)

These men were LOUD, and I loved every minute of it. Definitely the hype squad of the parade. They were dancing and singing and screaming and getting up in people’s faces, and taking lots and lots of photos with people. It seemed like we were milling around in what could perhaps be best termed “somewhat organized chaos” for a while, but eventually there was some unseen signal, a trumpet went off, everyone cheered, and we were off! By this point, it had begun to drizzle, but I don’t think anyone minded, least of all the masks people - it cooled everything down and those masks and heavy clothes get hot regardless of the outside temperature. 

(traditional Vejigante mask)

As we walked alongside the folks in masks, I was struck by how strange it was to have so many cameras turned on me. I was taking lots of pictures, and for every picture I took, I’m sure that at least 10 were taken of me just because I was walking “in” (a very loose word, to be clear) the parade. People kept jumping in and out of the parade, dancing in the middle of the street, and grabbing parade members (including our masked friends!) to take pictures. As I have been throughout most of this trip, I was warmed by the sense of love and community as we traveled along our route. It seems like all of these community events that we attend, particularly those pertaining to Puerto Rican culture and heritage, are filled with passionate people who share a level of affection and camaraderie that it doesn’t seem like we often see in the continental United States.  

(the tables have turned - the photographers become the subjects)

I also couldn’t help feeling like I should’ve worn a mask to be walking in the parade - the people in masks were totally transformed and some people who had been nervous about dancing in public prior to putting the mask on were suddenly dancing and mime-ing freely and exuberantly. We slowly walked through the streets, and every part of the experience was overwhelming in the best way: the colorful sights, the mouthwatering smells of food, and the rhythmic music. I honestly wasn’t even paying attention to the rain, although at this point it had become more of a sprinkle than a drizzle. Eventually, we reached the plaza of San Sebastian, where the paraders circled a few times and settled in to watch the opening ceremony, which was entirely in Spanish and, as a result, somewhat challenging for me to understand as someone who does not speak the language. What I did find interesting, though, was that there are SO many people here who love the arts, and who are committed to creating, maintaining, and preserving space for the arts within the different communities in the city of Old San Juan. We’ve seen this throughout our entire trip with the different people we’ve worked with, but this festival really cemented that idea for me. When I brought it up later in the day with a Puerto Rican friend, he responded, “Well yeah, we’ve been through a lot... we need to find some way to express it.”

(close up of Asha in her mask, Kate/Jess/Lauren in training masks)

All in all, this was such a fun afternoon! I loved getting to see the masks that the other group had been working on, since we tend to be fairly isolated in our studios. On the very first day, Deborah had told us, “The masks will do the work for you, you just have to get out of the way.” I got to see this firsthand this afternoon. And although yes, it did literally rain on our parade, I’m sure the sun will come out tomorrow. 

[sarafinamagazine]

Robyn Scott and Roxane Hayward have joined forces to star in The Fugard Theatre‘s star-studded production of Shakespeare in Love. Not only are Robyn and Roxane tackling roles that awarded their film counterparts Academy Awards, Shakespeare in Love marks a return to the stage for both women. We sat down in the audience of The Fugard Theatre to chat about the show, the journey back to theatre and the current climate for female actors in South Africa. 

Who or what inspired you to pursue a career in the arts?

Roxane Hayward: Acting has always been my first love, it’s always been what I’ve wanted to do since before I could speak. I think, for me, the inspiring thing is that I had a dream and I decided that I would do everything in my power to make that dream come true. That, in and of itself, is inspiration to keep going and motivation to go, “Don’t give up on that little girl’s dream.”

Robyn Scott: I literally came out of the womb knowing that this is what I was going to do. I was incredibly fortunate to have parents who saw that I had some talent and then they nurtured that talent. I consider myself very blessed because I know why I am on this planet and that is to tell stories. It’s a wonderful thing to know every day that this is why I am meant to be here, to tell stories, to make people feel moved and forget that they have tax returns or that they’ve had a fight with their husband.

L-R: Roxane Hayward & Robyn Scott. Photo credit: Chris de Beer

What was it about this production that made you want to be involved?

Roxane Hayward: I’m an absolute fan of the film Shakespeare in Love. It came out when I was quite young. It’s one of those films that I watched over and over again. Three years ago, I was in London when the original West End production took place. I loved it. I thought that the role of Viola was amazing and the fact that it is now onstage and there is an opportunity to maybe one day in the future perform in the play, was just a really great thought. Three years later and here we are.

Robyn Scott: It’s fate, baby. It was meant to be.

Roxane Hayward: As soon as I heard it was coming to South Africa and that there were auditions, I thought to myself, “I haven’t done theatre in 10 years but if I ever was to get back onstage and do it, this is the moment. This is the role. This is the production. This is the director. This is the theatre.” It just ticked absolutely every single box.

Robyn Scott: I’m a romantic by heart. I absolutely just adored the movie. I am a huge Queen Elizabeth fan and I’m a massive Judi Dench fan. I loved her in that. I haven’t been onstage in over four years since London Road. To get my tootsies back on the boards again, to play Elizabeth at The Fugard Theatre under Greg Karvellas‘ direction…I had never worked with Greg before and I have been wanting to work with him for a really long time. All the stars aligned and here we are.

Photo credit: Chris de Beer

You both mentioned that this is your return to the stage. What has the process been like of coming back to the theatre?

Robyn Scott: I’m a nervous Nellie by nature so it’s all pretty terrifying. I’ll be nervous until we close the show but that is who I am as an actor. The journey for Shakespeare in Love has been absolutely wonderful. The cast is just a crazy bunch of mad loons who are just incredibly generous and kind and I haven’t laughed in a process like this, ever before. All we’ve done is laugh and I’m talking about wee-laughter. All we’ve done is laugh and work hard. It’s been an absolute joy.

Roxane Hayward: It was really interesting to transition from film, which I’ve been fortunate enough to work in since the age of 10/12, to theatre. I trained in Theatre. I love Shakespeare. I’ve always wanted to do a play at Maynardville or a full Shakespearean play. The requirement for the first round of auditions for Shakespeare in Love was a Shakespearean monologue. I was like, “It’s been a while but let’s see if I can pull it off.” It’s amazing how it all just kind of comes back to you. It was really just a thing of going, “Ok. They are two separate mediums, let’s get my head space into the theatre medium and give it a go.” On the first day of rehearsals, I felt like a fish out of water. We’ve got some of the most reputable, established, critically acclaimed actors in the country, Robyn being one of them, who have really made a name for themselves in the theatre world in South Africa and internationally. I was really quite intimidated to be honest because here is this film actress on theatre turf. The nerves very quickly turned into excitement and a few days into rehearsals I had my first dialect session with Robyn [who] was also the dialect coach on Shakespeare in Love. That day was an anchor point just having those moments with Robyn and thinking, I’ve got this and I’ve got this lovely lady with me who will be with me along the ride.

Robyn Scott: Because you need to feel safe. That is the difference between those mediums and that is why my greatest love is theatre because it’s alive. No night is the same. There is an element of danger to it. You don’t know what is going to happen. You need that safety and that nurturing.

Roxane Hayward: And that camaraderie and team spirit. There are 21 actors in this and numerous people behind the scenes. It’s a well-oiled machine and we all have one goal and that is to make an amazing production and do something successful to tell the story. It’s been really incredible to be a part of that. Every actor is just phenomenal. It’s been a real honour working with them.

Robyn Scott: It’s a shit show backstage. It’s actually easier to be onstage than it is backstage. The costumes are extraordinary. They come from the RSC. Rox and I both have quick changes that in the beginning you think, “We are never going to be able to do this. This is absolutely impossible.” There are amazing dressers and an amazing crew backstage but the generosity of everybody is that we all muck in. It’s actors opening these sliding doors. There are some crew but it’s actors doing those. We are all helping each other dress and undress. It’s a beast back there. It’s a well-oiled beast now. I think we’ve got it but it’s still dodgy. It’s that generosity of a company of people who come together to tell a story [that] is incredibly special. I think that helps so much for us coming back to the theatre again when you are working with these people who are just so insane and amazing.

Photo credit: Daniel Rutland Manners

I was already dying to ask you about the quick changes backstage because I feel like it must be more of a show backstage than onstage. 

Roxane Hayward: Offstage is a full-on cardio workout. I do Muay Thai and I normally go every single day. I haven’t been for three weeks because I’ve just gone, “I actually don’t need to because I am doing all of my cardio running up and down the stairs backstage and changing.”

Robyn Scott: The costumes are beautiful. They are exquisite and we are honoured to wear them but my gold dress that I wear is 7kgs! That’s the one I have to walk in and then do the jig and they keep adding stuff to it! Like, “More pearls! Let’s give her more pearls!” You’ve got to make those costumes work and they do.

Roxane Hayward: The one thing for me, working with Robyn, was just learning how to breathe again. If you don’t breathe, the people even sitting in the fifth row aren’t going to hear you.

Robyn Scott: You’ve got to hit the back row.

Roxane Hayward: I’m working on all these exercises that Robyn gave me and then we put the costumes on and it’s a corset! It was like Keira Knightley in Pirates of the Caribbean where she goes, “Try wearing a corset!” That was literally me. I had my Pirates of the Caribbean moment because I couldn’t breathe.

Robyn Scott: And I was like, “No my Roxi, the corset is there to support you.” That is why opera singers love a corset because it supports everything. The tighter, the better.

Roxane Hayward: I still haven’t wrapped my head around that one.

Photo credit: Chris de Beer

Robyn, you are no stranger to Queen Elizabeth I. What is it about this character that keeps drawing you back to her?

Robyn Scott: When I was about 13, my brother was living in London and my mom and I went to visit him. I had never been to London before. We went to The Tower of London where Anne Boleyn, Elizabeth’s mother, was beheaded. I can remember walking in and looking around and having an overwhelming sense of, “I’ve been here before. I know this place.” It was absolutely overpowering and overwhelming. I became absolutely obsessed with Henry VIII, his wives but particularly with Anne Boleyn. I studied at UCT and in my final year, you have to do an audition program and all the people come and watch. I had chosen to do a piece out of a Dario Fo‘s Elizabeth: Almost By Chance a Woman. At the time, Marthinus Basson was the Artistic Director at Artscape and he came to watch the audition programs. I ended my program with playing this mad Queen Elizabeth as a 60-year-old woman. Two days later, I got called in by Christopher Weare, who headed up Drama and I thought, “I’m in trouble.” Chris said to me, “From what Marthinus has seen, they are going to put it on at The Arena.” I was 22 about to play a 60-year-old queen and it was my debut professional performance. 10 years later, Chris and I did it again and now this, although this is a very different Elizabeth. The first one was very large whereas this one is Stoppard. Stylistically it has to be a bit more real and [it’s] also difficult because Judi Dench played it and everyone knows the part because she won the Oscar for, I think it was the shortest time on screen in a movie.

Roxane Hayward: It was seven minutes or something total screen time.

Robyn Scott: There is also all of that. It’s like what I said to Rox, it is just fate. I still have a love for her. I still have rituals with her. Every night before we go onstage, I stand onstage and I take my moment and I look around the theatre and I honour her and I thank her.

Photo credit: Chris de Beer

Photo credit: Chris de Beer

I wanted to reference one of the lines your character says, “I know something of being a woman in a man’s world.”

Robyn Scott: “Yes by god I do know about that!”

Let’s chat about that because it’s a large cast that is predominantly male….

Robyn Scott: Is this coming off the back of Harvey Weinstein?

I think it’s always coming off of the back of something. 

Robyn Scott: It’s so funny because it changes but when I said that line last night, I thought that as I said that line.

Roxane Hayward: I heard the reaction of the audience with that. It’s so prevalent at the moment. I think it’s always been prevalent but I think now it has been brought to light.

Robyn Scott: It doesn’t matter LA, Cape Town, Jozi.

Roxane Hayward: It doesn’t matter [what] industry either. It does happen everywhere. I think it really is a great line in the play. It comes at the end of the play and when you say it, it sums up the role of the character of Viola. The whole play is about her trying to be a part of this theatre world, this world of poetry which was run by men and was a man’s world. She desperately wants to be a part of it. She gets a taste of kind of knowing what it is like to be a woman in a man’s world.

Robyn Scott: What she [did], in those days, was dangerous. She would have been put in the tower and it’s because of that cheeky wink with Elizabeth because Elizabeth knows about being a woman in a man’s world. The funny thing is that her reign was glorious. It’s like you kind of want to go, “Well girls really should be running the world anyway.” That’s a whole other thing and it’s also that Harvey Weinstein thing and it was so weird because that popped into my head last night as I said it.

Roxane Hayward: It hasn’t before?

Robyn Scott: No. I have had nights ago where I did think, “I’ve been bullied by male directors and it’s so nice to dig it in.” It feels powerful and fab saying it. I love it.

Photo credit: Chris de Beer

Going off of that, in your position as actresses in South Africa, how do you feel about the current state of the industry? Do you feel as though there are enough roles for women?

Roxane Hayward: I think it’s definitely on the rise. There are a lot more productions coming to South Africa. The quality of productions coming to South Africa is fantastic. The South African productions that are being done locally and being born from within our country is amazing and it is all on the rise which is great. There are some really great roles for women.

Robyn Scott: The film stuff is amazing.

Roxane Hayward: But, saying that, I do have a lot of friends in the industry who are male and 90% of the time, my male actor friends are a lot busier and getting seen for roles and working because there are so many.

Robyn Scott: Without a doubt. Across the board.

Roxane Hayward: Now talking feature films and TV work, predominantly a lot of the roles are male roles. There is more work for men in the industry but it’s on the rise. I think the more we talk about it and the more we voice our opinion, the more roles will be created for women to get involved in.

Robyn Scott: There are amazing movies and TV series coming and that is fantastic and please God may it please continue. The theatre scene in Cape Town also has exploded. Should there be more roles for women? Yes. Should there be more female directors? Yes. Should female actresses be getting more money than male actors? Yes and yes again.

Roxane Hayward: I worked with an amazing female director the other day on a short film. She was so great and it was such a refreshing experience for me because I actually hadn’t ever worked with a female director before. And it was really fabulous. I also have a few friends who are scriptwriters who are female and the work that they produce is also lovely and because they are writing from a female’s point of view with a female voice, the female characters are slightly more predominant in their work. We are getting there.

Robyn Scott: Should there be more roles for female actresses in Cape Town? Fuck yeah. I haven’t worked in four years. It’s not because I chose not to work for four years, I haven’t been employed. No one has employed me and then people last night are like, “You are amazing! Where have you been?” And it’s like, thank you God for people like Greg Karvellas and The Fugard Theatre and thank you god for Eric Abraham to go, “Let’s do a show and let’s have 21 actors.” That’s another amazing thing. You just don’t get that.

Roxane Hayward: The other interesting thing that I would like to add to this question, the rise of social media has really influenced a lot of casting. I think it is kind of trickling into the theatre industry as well but definitely for the international film and TV productions. A lot of the time, you have to harness a bit of a social media following which takes up so much time and we see so many young actresses wanting to get into the industry dedicating their time and their energy on their social media accounts, which is very important to get out of non-existence and have a bit of an outflow but we must never forget that using our time and our energy to hone our actual skills and our craft and our knowledge is the thing that will create longevity in your career. At the end of the day it always boils down to talent. I think we will soon be reminded of that within the industry.

Photo credit: Daniel Rutland Manners

What has playing these characters taught you?

Robyn Scott: I have learned how to take a character that I know in my bones and delicately change her and find humor and how to go about doing that. That was the job for me. How do I play her again but completely differently that will serve the style of Tom Stoppard and tell this style in this play for this story? I think, as an actor, that is what it was about for me. It was how to go about doing that and keeping everyone happy who does love the movie and who loves Judi Dench and all of that because I am not Judi Dench. I am Robyn Scott. That was the task for me and I hope that I have made her my own.

Roxane Hayward: If I have to sum it all up, this role has taught me to be brave in so many aspects of the term. Viola, herself, is a brave young woman but coming back into theatre and working with such an incredible team, I’ve really had to be brave. The words that Greg has said to me throughout the rehearsal process have been, “Rox, be brave. Just do it and give me more. I can always reign you in but just be brave.” They are words that I go to bed at night thinking, “Ok. It makes sense to me. Be brave.”

Robyn Scott: And you are being brave, babe.

Who are some South African woman in the arts that inspire you?

Robyn Scott: Sylvaine Strike, Karin van der Laag, Lucinda Hooley [and] Jaci Smith were the women and actresses that I got to look up to when I was in my 1st year at UCT Drama School. I always said, if I can be a combination of all of those women, watch out world. I’m “mummy” to a lot of actors. I take on that role but they are my mummies. When I’m with them, I get to be the baby and I love it. I just hope that they are proud of me. I must also say Antoinette Kellerman is like, I actually get nervous when she walks into a room. I get quite starstruck and I can’t talk. That voice! She is like stratospheric.

Roxane Hayward: Taryn Sudding! I used to watch Kideo growing up and I loved her. I wanted to be her. I thought she was the most fabulous thing I’d ever seen. She was my Kideo woman and that was it and then I saw her in The Wizard of Oz and a few other productions that she had been in over the years. I kept all the programs of all the shows she was in. I kept everything. I was going through things for a visa application and I came across The Wizard of Oz program with Taryn Sudding. She crossed my mind and then I thought, “Come Roxane, you have a flight to catch. Put it away.” I got on the plane and Taryn Sudding was sitting next to me! I went, “I’m so sorry, this is going to make me sound like a psycho but I have to introduce myself. You’ve been such an inspiration to me!”

Robyn Scott: Was she amazing?

Roxane Hayward: Yes! She’s such a beautiful soul and she just exudes this light. I also love Anthea Thompson. I’ve seen her in a few things and trained with her briefly. It was a great experience and in that short space of time, she really did give me a few pointers that I’ve kept with me. Sabrina Chinneli-Smith and Bronwyn Gottwald were my drama teachers when I was little. They helped me create the foundation blocks for me as an actress and gave me that confidence and that drive from a really young age. They are lessons that I will never forget. And last but not least, the lovely Robyn Scott. I can’t not mention her and I’m not just saying this because we are sitting next to each other right now. It’s been eight weeks now that we’ve known each other but I’ve learned so much. It’s really been special having you by my side through this journey.

Robyn Scott: But not just this journey.

Roxane Hayward: And more to come!

Shakespeare in Love is now playing at The Fugard Theatre until November 25th. For tickets, click here.

You can follow Roxane on Facebook, Twitter or Instagram.

You can follow Robyn via her official webstie.

Special thanks to Christine Skinner, Hannah Baker and Chris de Beer.

All black and white images were taken by Chris de Beer at The Fugard Theatre on October 19th 2017.

Sarafina Magazine and Chris de Beer maintain copyrights over all images. For usage or inquires, please contact us.

We chat with @Roxane Hayward and Robyn Scott about starring in #ShakespeareinLove @TheFugard Robyn Scott and Roxane Hayward have joined forces to star in The Fugard Theatre's star-studded production of…

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CFP: A holiday from War? 'Resting' behind the lines during the First World War - Sorbonne Nouvelle, June 22 & 23, 2018

A Holiday from War? ‘Resting’ behind the lines during the First World War

Université Paris III – Sorbonne Nouvelle

June 22 & 23, 2018

Maison de la Recherche

Organised by Sarah Montin (EA PRISMES) et Clémentine Tholas-Disset (EA CREW)

Confirmed Keynote Speaker: Tim Kendall (University of Exeter)

His men threw the discus and the javelin, and practiced archery on the shore, and their horses, un-harnessed, munched idly on cress and parsley from the marsh, the covered chariots housed in their masters¹ huts. Longing for their warlike leader, his warriors roamed their camp, out of the fight. (lliad, Book II)

What do the soldiers do when they are not on the battlefield? The broadening of the definition of war experience in recent historiography has transformed our spatial and temporal understanding of the conflict, shifting the scope away from the front lines and the activities of combat. Beyond the battlefield and its traditional martial associations emerges another representation of the warrior and the soldier, along with another experience of the war.

Situated a few kilometres behind the front lines, the rear area is the space where soldiers rotated after several days burrowed at the front or in reserve lines, surfacing from the trenches to join rest stations, training installations, ammunition and food supply depots, hospitals, brothels, command headquarters or soldiers¹ shelters. In that space in-between which is neither the site of combat nor that of civilian life, the soldiers were less exposed to danger and followed a barracks routine enlivened by relaxing activities which aimed to restore morale. If some soldiers found there a form of rest far from the fury of the guns, others suffered from the encroaching discipline, the imposition of training orthe promiscuity with soldiers that were no longer brothers-in-arms in thas buffer zone where they spent 3/5ths of their time. Both a place of abandonment and a place of control, the rear area merges at times with the civilian world as it occupies farms and villages and hosts non-combatants such as doctors, nurses or volunteers. With battles being waged close by, the ³back of the front² (Paul Cazin) is a meeting place for soldiers of different armies and allied countries, as well as for officers and privates, soldiers and civilians, men and women, foreign troops and locals living in occupied zones. The rear area is not only a spatial concept but also a temporal one: it is a moment of reprieve, of passing forgetfulness and illusive freedom; a moment of ³liberated time² Thierry Hardier and Jean-François Jagielski) indicating a period of relative rest between combat and leave, a short-lived respite before returning to the front. If the combatant is entitled to repose and time to himself, military regulations demand that he never cease to be a soldier. As such we have to consider these moments of relaxation within the strict frame of military life at the front and the role played by civilian organizations such as the YMCA or the Salvation Army, who managed the shelters for soldiers on the Western Front.

Though seemingly incompatible with war experience, certain recreational activities specific to civilian life make their way to the rear area with the approval of military command. Moments of relaxation and leisure are encouraged in order to maintain or restore the soldier¹s physical and emotional well-being, thus sustaining the war effort. They also ensure that the soldier is not entirely cut off from ³normal² life and bring comfort to those who are not granted leave. Liberated time is not free time, just as periods without war are not periods of peace. These ³holidays from war² are not wholly synonymous with rest as the men are almost constantly occupied (review, training exercises, instruction) in order to fight idleness and ensure the soldiers stay fit for duty. The rear is thus also a place of heightened collective practises such as sports, hunting and fishing, walking, bathing, discussions, creation of trench journals, film projections, concert parties, theatre productions, religious services as well as individual activities such as reading, writing and artistic creation.

Between communion with the group and meditative isolation, experiences vary from one soldier to another, depending on social origins, level of education and rank, all of which take on a new meaning at the rear where the egalitarian spirit fostered during combat is often put to the test. Sociability differs in periods of fighting and periods of recovery, and is not always considered positively by the soldiers. However, despite the tensions induced by life at the rear, these ³holidays from war² and spells of idleness are often represented as idyllic ³pastoral moments² (Paul Fussell) in the visual and written productions of the combatants. The enchanted interlude sandwiched between two bouts of war becomes thus a literary and artistic trope, evoking, by contrast, a fleeting yet exhilarating return to life, innocence and harmony, a rediscovery of the pleasures of the body following its alienation and humiliation during combat.

In order to further our understanding of the historical, political and aesthetic concerns of life at the rear, long considered a parenthesis in the experience of war, this interdisciplinary conference will address, but will not be limited to, the following themes:

The ideological, medical and administrative construction of the notion of ‘rest’ in the First World War (as it applied to combatants but also auxiliary corps and personnel). Paramilitary, recreational and artistic activities at the rear; the organisation of activities in particular leisure and entertainment, the role of the army and independent contractors (civilian organisations, etc.) Sociability between soldiers (hierarchy, tensions, camaraderie); the rear area as meeting place with the other (between soldiers/auxiliary personnel, combatants, locals, men/women, foreign troops, etc.), site of passage, exploration, initiation or ³return to the norm² (³rest huts² built to offer a ³home away from home²), testimonies from inhabitants of the occupied zones Articulations and dissonances between community life and time to oneself, collective experience and individual experience The historic and artistic conceptualisation of the rear area, specific artistic and literary modes at the rear by contrast with writings at the front Staging life at the rear: scenes of country-life, idyllic representations of non-combat as farniente or hellscapes, bathing parties or penitentiary universes, the figure of the soldier as dilettante, flâneur and solitary rambler, in the productions (memoirs, accounts, correspondence, novels, poetry, visual arts, etc.) of combatants and non-combatants; Cultural, political and media (re)construction of the figure of the ³soldier at rest² (war photography, postcards, songs, etc.); representations of the male and female body at rest, constructions of a new model of masculinity (sexuality and sport), and their place in war production.

In order to foster dialogue between the Anglophone, Francophone and Germanophone areas of study, the conference will mainly focus on the Western Front. However proposals dealing with other fronts will be examined. Presentations will preferably be in English.

Please send a 250-word proposal and a short bio before November 20, 2017 to : montin.sarah@gmail.com and clementine.tholas@univ-paris3.fr Notification of decision: December 15th 2017

  Proposals will be reviewed by the Conference scientific committee: Jacub Kazecki (Bates College) Jennifer Kilgore-Caradec (Université de Caen) Catherine Lanone (Université Sorbonne-Nouvelle) Mark Meigs (Université Paris Diderot) Sarah Montin (Université Sorbonne-Nouvelle) John Mullen (Université de Rouen) Karen Randell (Nottingham Trent University) Serge Ricard (Université Sorbonne-Nouvelle) Clémentine Tholas-Disset (Université Sorbonne-Nouvelle)

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