http://www.culturewars.org.uk/index.php/article en Copyright 2012 2012-01-30T14:53:26+00:00 http://www.culturewars.org.uk/index.php/site/article/fixing_things_is_moiras_fix/ http://www.culturewars.org.uk/index.php/site/article/fixing_things_is_moiras_fix/#When:14:53:26Z 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. Matt Trueman Theatre, 2012-01-30T14:53:26+00:00 http://www.culturewars.org.uk/index.php/site/article/reading_margaret_thatcher/ http://www.culturewars.org.uk/index.php/site/article/reading_margaret_thatcher/#When:15:05:03Z 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. Barney Norris Theatre, Blogs, 2012-01-27T15:05:03+00:00 http://www.culturewars.org.uk/index.php/site/article/watch_from_an_angle/ http://www.culturewars.org.uk/index.php/site/article/watch_from_an_angle/#When:14:55:37Z 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? Matt Trueman Theatre, 2012-01-27T14:55:37+00:00 http://www.culturewars.org.uk/index.php/site/article/mccullins_war/ http://www.culturewars.org.uk/index.php/site/article/mccullins_war/#When:14:45:26Z 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. Lewis Richards Visual Arts, 2012-01-27T14:45:26+00:00 http://www.culturewars.org.uk/index.php/site/article/a_good_old_fashioned_postmodern_rom-com/ http://www.culturewars.org.uk/index.php/site/article/a_good_old_fashioned_postmodern_rom-com/#When:15:04:33Z 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. Matt Trueman Theatre, 2012-01-26T15:04:33+00:00 http://www.culturewars.org.uk/index.php/site/article/to_what_end/ http://www.culturewars.org.uk/index.php/site/article/to_what_end/#When:15:03:26Z L’Autre is an advocation of play. Stellato defies the accepted order of things, the one that says square pegs belong in square holes. He encourages us to see with fresh – often quite disbelieving – eyes. At several points, gravity seems to stand back and gift Stellato the floor. He walks a plank that oughtn’t support his weight, until, in a hauntingly tranquil final image, he dissolves into darkness. Matt Trueman Theatre, 2012-01-26T15:03:26+00:00 http://www.culturewars.org.uk/index.php/site/article/tranquilised_gentility/ http://www.culturewars.org.uk/index.php/site/article/tranquilised_gentility/#When:03:02:16Z Yann Tiersen style piano music twinkles throughout. Gracious courtly bows and dainty curtsies follow each act. Eliza Doolittle at the Embassy Ball was not so mindful of her p’s and q’s. Matt Trueman Theatre, 2012-01-26T03:02:16+00:00 http://www.culturewars.org.uk/index.php/site/article/lost_in_a_deluge_of_action/ http://www.culturewars.org.uk/index.php/site/article/lost_in_a_deluge_of_action/#When:16:26:30Z Harris throws in just enough sinister hints about this new nanny, and her oddly intimate knowledge of Hazel’s family,  to keep these early encounters fizzing nicely. But despite these Ortonesque overtones, the atmosphere gradually flattens and the over-defined characters, with little room to develop, hit a dead end. Miriam Gillinson Theatre, 2012-01-20T16:26:30+00:00 http://www.culturewars.org.uk/index.php/site/article/a_nice_line_in_feigned_ineptitude/ http://www.culturewars.org.uk/index.php/site/article/a_nice_line_in_feigned_ineptitude/#When:16:06:15Z The ladder, handily placed by a stagehand at the back of the stalls, is hauled through the audience, fast-ducking as it swishes overhead. Placed upside down, apparently unwittingly, it becomes an object so unusual that it is capable of surprising us just as much as them. Matt Trueman Theatre, 2012-01-20T16:06:15+00:00 http://www.culturewars.org.uk/index.php/site/article/a_moving_magic_eye/ http://www.culturewars.org.uk/index.php/site/article/a_moving_magic_eye/#When:15:58:45Z For long swathes, he stands stationary, but when he moves, each action chimes perfectly with its surroundings. Despite the fact that Umeda could teach Peter Crouch a thing or two about ‘the robot,’ he rejects the virtuosic for the maximum effect. Sometimes its as simple as shifting his weight from one foot to another. Matt Trueman Theatre, 2012-01-20T15:58:45+00:00 http://www.culturewars.org.uk/index.php/site/article/the_master_storyteller/ http://www.culturewars.org.uk/index.php/site/article/the_master_storyteller/#When:05:03:56Z Throughout this collection of interviews, which took place of a series of months, Almodóvar exudes a well balanced streak of eccentricity, coupled with a sense of professionalism that is rooted in formality and devotion to his work. He explains in-depth the many disparate influences which inspired his earliest films, from Marlene Dietrich and Marilyn Monroe to the varied iconography of popular culture. Valentine Rossetti Books, Film, 2012-01-20T05:03:56+00:00 http://www.culturewars.org.uk/index.php/site/article/young_again/ http://www.culturewars.org.uk/index.php/site/article/young_again/#When:21:13:24Z It isn’t only the transformation of this couple’s physical appearance that causes the breath to catch in one’s throat. This switch from sprightly to stumbling is painful enough – but it is the change in the way these two communicate that really impresses. Miriam Gillinson Theatre, 2012-01-16T21:13:24+00:00 http://www.culturewars.org.uk/index.php/site/article/cw_editorial_note_-_14_january_2012/ http://www.culturewars.org.uk/index.php/site/article/cw_editorial_note_-_14_january_2012/#When:15:37:24Z London theatre, multiculturalism and the symphony Editorial Team Blogs, CW Editorial Notes, 2012-01-14T15:37:24+00:00 http://www.culturewars.org.uk/index.php/site/article/struggles_with_abstraction/ http://www.culturewars.org.uk/index.php/site/article/struggles_with_abstraction/#When:15:21:24Z If we subscribe to the belief that the symphony is the ultimate symbol of classical music generally, the highest, purest classical form, it follows pretty quickly that the best of classical music is firmly confined to the past. Pushing so hard to expand the cultural reach of mainstream symphonic tradition is ultimately a deeply conservative thing to do. Paul Kilbey Film, Music, 2012-01-14T15:21:24+00:00 http://www.culturewars.org.uk/index.php/site/article/towards_interculturalism/ http://www.culturewars.org.uk/index.php/site/article/towards_interculturalism/#When:14:59:19Z Democracy, tolerance and equality are ‘core values’ that are frequently cited as the cornerstones of a British way of life, but as Rattansi points out, these values are vague, simplistic and not exclusive to Britain, and - especially historically speaking - have not always acted as the uniting undercurrent of British life. Maahwish Mirza Books, 2012-01-14T14:59:19+00:00