(1) Professional and amateur performers, musicians, and dancers
(2) Crew for set design, costume design, make up, lighting, set construction, marketing, and graphic design
- Actors & dancers @ 2pm
- Musicians @ 6pm
- Crew for costume & stage @ 8pm
This is a cooperation project supported
by Mellon Foundation AUB and Al Madina Theatre
This collective performance will be choreographed by Cornelia Krafft and staged Al Madina Theatre Dec 1-2, 2012.
Rehearsals will be held in English and will start mid-September 2012 and since this is a non-profit production, no honorariums will be given. Only material and production requirements will be covered.
Please contact Cornelia Krafft via Facebook messaging if you are interested in joining and plan to attend the audition. For persons who wish to attend, please see the project description below and prepare a part, movement, or music piece for your audition and take into consideration the themes. For production crew, please bring with you your portfolio of past works.
Project Description:
Based on the two dramas/operas this proposed theatrical composition addresses the ideas of innocence and revenge as they are reflected in our contemporary society.
by Mellon Foundation AUB and Al Madina Theatre
This collective performance will be choreographed by Cornelia Krafft and staged Al Madina Theatre Dec 1-2, 2012.
Rehearsals will be held in English and will start mid-September 2012 and since this is a non-profit production, no honorariums will be given. Only material and production requirements will be covered.
Please contact Cornelia Krafft via Facebook messaging if you are interested in joining and plan to attend the audition. For persons who wish to attend, please see the project description below and prepare a part, movement, or music piece for your audition and take into consideration the themes. For production crew, please bring with you your portfolio of past works.
Project Description:
Based on the two dramas/operas this proposed theatrical composition addresses the ideas of innocence and revenge as they are reflected in our contemporary society.
Both plays intertwine the polarity of perception of victim and culprit. By opening
the "chambers and cages" the audience is slowly pushed to question the acts of
innocence and revenge. This in itself is a relevant process that triggers a
detailed awareness and a cognition that unveils the unfair judgmental behavior
in society towards women that is still with us today.
The fact that the two female central figures are connected to Greek mythology clearly shows the continuity of these topics throughout history. Salome put in parallel with the moon draws on traditions that figured the moon as the goddess Cybele, whose potent femininity led her male followers to castrate themselves and begin new lives as women. Like Cybele, Salome's threat is in her control over men, who are made less powerful by their sexual desire for her, which becomes fatal in the end.
Ariane takes her name from the legend of Ariadne and the Cretan labyrinth, although she combines the roles of both Ariadne and Theseus, who freed the captive Athenian virgins from the Minotaur just as Ariane liberates - or tries to liberate - the wives from Bluebeard.
Since the plots share the mysterious idioms and ideas of symbolism, the performance will emphasize more on images, symbols, gestures and atmospheric settings than on spoken action on stage. It aims lobe mostly mute, using mime, dance, music and art presented on stage. The sources of imagery will span widely from ancient times to art deco and contemporary painting and photography transformed into costumes and stage settings.
Salome:
The story of the princess Salome stepdaughter of Herod dates back to the book of Matthew in the Bible. In the original story Salome dances for Herod's birthday feast and he is so pleased with her dance of the seven veils that he offers to give her anything she desires. Urged by her mother. Salome requests the head of John the Baptist, and so she is responsible for the death of John. Since this first version of the story, many writers have retold the story and one of the most famous versions is the play Salome by Oscar Wilde. Even though once banned, Salome is now considered an important symbolic work in modern drama.
... in Oscar Wilde's version:
Salome, aware of the intensity of Herod's desire for her, "sells" her body to Herod in exchange for access to the object of her own desire, a kiss from the otherwise resistant lokanaan. The changes to the biblical story indicate the play's unique revision of the gender stereotypes. Wilde introduces feminine sexual desire to expand beyond the view of women as goods. Salome is in control of her own values and merchandises it in order to secure the fulfillment of her own desire.
The fact that the two female central figures are connected to Greek mythology clearly shows the continuity of these topics throughout history. Salome put in parallel with the moon draws on traditions that figured the moon as the goddess Cybele, whose potent femininity led her male followers to castrate themselves and begin new lives as women. Like Cybele, Salome's threat is in her control over men, who are made less powerful by their sexual desire for her, which becomes fatal in the end.
Ariane takes her name from the legend of Ariadne and the Cretan labyrinth, although she combines the roles of both Ariadne and Theseus, who freed the captive Athenian virgins from the Minotaur just as Ariane liberates - or tries to liberate - the wives from Bluebeard.
Since the plots share the mysterious idioms and ideas of symbolism, the performance will emphasize more on images, symbols, gestures and atmospheric settings than on spoken action on stage. It aims lobe mostly mute, using mime, dance, music and art presented on stage. The sources of imagery will span widely from ancient times to art deco and contemporary painting and photography transformed into costumes and stage settings.
Basic synopsis and analysis of the counterparts
Salome:
The story of the princess Salome stepdaughter of Herod dates back to the book of Matthew in the Bible. In the original story Salome dances for Herod's birthday feast and he is so pleased with her dance of the seven veils that he offers to give her anything she desires. Urged by her mother. Salome requests the head of John the Baptist, and so she is responsible for the death of John. Since this first version of the story, many writers have retold the story and one of the most famous versions is the play Salome by Oscar Wilde. Even though once banned, Salome is now considered an important symbolic work in modern drama.
... in Oscar Wilde's version:
Salome, aware of the intensity of Herod's desire for her, "sells" her body to Herod in exchange for access to the object of her own desire, a kiss from the otherwise resistant lokanaan. The changes to the biblical story indicate the play's unique revision of the gender stereotypes. Wilde introduces feminine sexual desire to expand beyond the view of women as goods. Salome is in control of her own values and merchandises it in order to secure the fulfillment of her own desire.
Bluebeard:
The opinion on Bluebeard and his last wife as to who is the culprit and who is the victim?, has changed over the centuries since Perrault published his fairy- tale in Paris in 1697. Numerous authors have worked with this story in all possible ways — as fairy-tale, narrative, novel, drama, opera as well as several pieces of music theater. The text "Ariane et Barbe-Bleue" by the Belgian writer Maurice Maeterlinck was also composed into a three act opera by Paul Dukas in 1907. A few years later Bela Bart6k's only opera Duke Bluebeard's Castle was composed, and is the more famous since.
...in Maeterlink's version:
Ariane is destined to be Bluebeards sixth wife. As she and her nurse arrive at Bluebeard's castle, he gives her seven keys to his treasure chambers: the six silver ones she is permitted to use, but the seventh, golden key is forbidden. When he is out one day her nurse opens the six doors while Ariane goes to look for the seventh. She finds his former wives still alive in the dark chamber. After persuading them to follow her into the light she dresses them with beautiful jewels and persuades them to leave the castle.
At this moment Bluebeard is returned wounded and roped up by the peasants to the castle. Immediately the wives start caring for the wounded. Ariane bids him farewell and asks the other wives if they are going to follow her. He makes a feeble attempt to stop her then relents. None of the wives accepts the offer and Ariane leaves alone with her nurse.
"l choose these plays in the belief that as" freedom is a daily practice", and along this attempt lies the link with Sheherazade which is a pure portrait of hope, " Cornelia Krafft explains.
Don't forget to Facebook message Cornelia if you are interested in auditioning; https://www.facebook.com/cornelia.krafft
Make sure you attend MISHKAL festival at Al Madina Theatre's round table discussion with Cornelia Kraft on Wednesday 19 September at 6.36pm! Check out details for our program below;
http://mishkalfestival.blogspot.com/2012/09/mishkal-festival-program.h
The opinion on Bluebeard and his last wife as to who is the culprit and who is the victim?, has changed over the centuries since Perrault published his fairy- tale in Paris in 1697. Numerous authors have worked with this story in all possible ways — as fairy-tale, narrative, novel, drama, opera as well as several pieces of music theater. The text "Ariane et Barbe-Bleue" by the Belgian writer Maurice Maeterlinck was also composed into a three act opera by Paul Dukas in 1907. A few years later Bela Bart6k's only opera Duke Bluebeard's Castle was composed, and is the more famous since.
...in Maeterlink's version:
Ariane is destined to be Bluebeards sixth wife. As she and her nurse arrive at Bluebeard's castle, he gives her seven keys to his treasure chambers: the six silver ones she is permitted to use, but the seventh, golden key is forbidden. When he is out one day her nurse opens the six doors while Ariane goes to look for the seventh. She finds his former wives still alive in the dark chamber. After persuading them to follow her into the light she dresses them with beautiful jewels and persuades them to leave the castle.
At this moment Bluebeard is returned wounded and roped up by the peasants to the castle. Immediately the wives start caring for the wounded. Ariane bids him farewell and asks the other wives if they are going to follow her. He makes a feeble attempt to stop her then relents. None of the wives accepts the offer and Ariane leaves alone with her nurse.
"l choose these plays in the belief that as" freedom is a daily practice", and along this attempt lies the link with Sheherazade which is a pure portrait of hope, " Cornelia Krafft explains.
Don't forget to Facebook message Cornelia if you are interested in auditioning; https://www.facebook.com/cornelia.krafft
Make sure you attend MISHKAL festival at Al Madina Theatre's round table discussion with Cornelia Kraft on Wednesday 19 September at 6.36pm! Check out details for our program below;
http://mishkalfestival.blogspot.com/2012/09/mishkal-festival-program.h
No comments:
Post a Comment