2012-02-10T15:08:55Z Copyright (c) 2012 Culture Wars ExpressionEngine tag:culturewars.org.uk,2012:02:10 tag:culturewars.org.uk,2012:index.php/article/2.3069 2012-02-10T13:56:53Z 2012-02-10T14:05:54Z Tovey and Winstone’s characters look like they long to be elsewhere. Tovey’s eyes dart about anxiously, constantly searching for something or someone else. Grace’s screeching laughter is far from a thing of a joy. And, even when the two kiss, it feels like they’re grappling about for a connection they cannot find.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3068 2012-02-08T18:24:12Z 2012-02-08T18:27:14Z A puppet with a penis for a head lurches, lazily, towards Punch. It’s an absurd image, like a Dali painting that’s learned to walk, but it is affecting and frightening too. Puppets might not have souls but, by God, do some of them look evil.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3065 2012-02-07T09:06:51Z 2012-02-07T11:34:52Z The efforts of two critical Bible scholars to bring their expertise to bear on contemporary debates in which the authority of the Bible is regularly invoked or assumed are undermined by their haughty dismissal of anyone else who ‘feels qualified to interpret the scriptures’ without sharing the authors’ learning, and in particular their knowledge of Hebrew

]]> tag:culturewars.org.uk,2012:index.php/article/2.3067 2012-02-07T08:22:53Z 2012-02-07T11:26:55Z If you wanted to take Rosenkavalier at face value as a tale of young love you could, just about, with eyes half shut. But with eyes wide open the tragedy of the Marschallin, engineering the very abandonment she foretold, adds depth to the story.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3063 2012-02-04T17:02:53Z 2012-02-10T15:08:55Z How to direct a play, London theatre and Terence Conran

]]> tag:culturewars.org.uk,2012:index.php/article/2.3059 2012-02-04T16:26:01Z 2012-02-04T16:51:03Z The book is not a bible in how to direct a play; it is one man’s account of what has, and has not, worked for him – a passionate, dedicated, lived and lively statement of what can happen when theatre is performing powerfully; and Murray believes deeply in the importance of theatre for the world beyond the stage.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3056 2012-02-04T16:06:18Z 2012-02-04T16:16:19Z The link between science, manufacturing, and the production and development of the day-to-day technology we take for granted, and whose loss we would note very quickly, is not widely recognised. Conran, with his reputation for artistic and profitable practicality as his calling-card, has a vital role in combating two centuries of neglect.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3055 2012-02-04T15:54:22Z 2012-02-04T15:58:24Z Bubbling away in this cauldron of emotion and ideas, is the theme of homosexuality and exclusion.  I have never before extracted such a concrete idea from one of Ridley’s plays, but this theme is impossible to ignore in Edward Dick’s clear-headed but head-spinning production.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3058 2012-02-04T04:22:51Z 2012-02-04T16:32:52Z The Emperor Jones is not a great film, and its source play is not a great work of drama, but both are important, and both have small moments of greatness - in the film’s case, mainly through the titanic presence of Robeson subverting some of the well-intended, but ultimately destructive, tendencies of O’Neill’s character portrayal.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3053 2012-01-30T14:53:26Z 2012-01-30T14:56:28Z Shallow Slumber is no mere in-yer-face exercise. Beneath it are nuanced social points about class and the co-dependence of the care-system and its clients. Not only is Dawn aware of the injustice behind the assumption that she needs a social worker, deep down she knows that, in her case, it’s a fair one.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3052 2012-01-27T15:20:39Z 2012-02-04T17:01:40Z Thatcher on stage, London International Mime Festival and war photography by Don McCullin

]]> tag:culturewars.org.uk,2012:index.php/article/2.3051 2012-01-27T15:05:03Z 2012-01-27T15:08:04Z Investigating the legacy of Margaret Thatcher may seem, at first, to be a retreat from engaging with modern politics, but I believe exactly the opposite is taking place when contemporary artists turn to her. One way of understanding the present is to interrogate the past.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3049 2012-01-27T14:55:37Z 2012-01-27T14:56:38Z Certainly, the text is delivered with all the tonal variation of Morse code. Reported back, it is stripped of emotion and, to a certain extent, intention. Punctuation becomes garbled, replaced with a steady, but stuttering, flow of words; pauses are scrapped as they struggle to keep pace; language warps. But do we not learn more from a fingerprint than from the lines on a palm, even though the contours offer less contrast?

]]> tag:culturewars.org.uk,2012:index.php/article/2.3048 2012-01-27T14:45:26Z 2012-01-27T14:49:27Z A key characteristic of the exhibition is the lack of colour photos used by Don McCullin during his career. McCullin said himself, ‘I thought that black and white images in war were much more powerful,’ and his photos reinforce this statement.

]]> tag:culturewars.org.uk,2012:index.php/article/2.3044 2012-01-26T15:04:33Z 2012-01-26T15:05:34Z Payne isn’t conclusively determinist. His characters still act freely, but their freedom is more limited than either would like to believe. Everything here is contingent: every decision, responsive; every happy ending as sweet and brittle as honeycomb.

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