Archive for April, 2015

Greek Drama Work Experience

April 27, 2015


We have received the following query:

I’m looking for a theatre company that’s putting on a classical play to shadow and help out with (as a free stage-hand, for example) in August. I’ve adapted and directed a production of Aristophanes’ Frogs at Winchester, and I know how to use basic sound and light equipment. Would you by any chance know how I could get in touch with any of the directors on your list?

So let’s try to give an answer without doing too much work.  If it was me, I would try Theatro Technis or the More London crowd. Apart from those, the people who have emailed me about Greek drama productions they were promoting or producing are Tania Batzoglou, Kaitlin Argeaux, Niamh de Valera, Kris Hallett, Jessica Ruano, Briony Rawle.

This is the kind of thing that might have interested Cressida Ryan when she did Classics Outreach at Oxford; I don’t know about her successor Mai Musie.

The rest may well be silence at least from me, but a friend on Facebook has kindly suggested Try the Globe for the Oresteia – they will be rehearsing through August for first performance on 29th …  I would suggest making contact through the theatre – try twitter @The_Globe and include the hashtag #Oresteia.  Or go straight to the director:

I say:  the Globe makes extensive use of volunteer labour & sees itself as having a definite educational mission, so that’s pretty astute.

….as a long shot, he could contact this lot in Poland:  They have a ‘Summer Intensive’ which isn’t exactly what he is looking for but they have several Greek plays in their repertoire. My son went there one Summer and worked for them for a few years after …

I say: Dziękuję!

A further suggestion would be David Stuttardhe puts on lots of Greek plays.

If one was a postgrad, and if it was a couple of weeks ago and so before the closing date, there would also be a Summer School called  “Challenging Limits: Performances of Ancient Drama, Controversies and Debates”.

Aesthetics: Art and Anti-Art

April 22, 2015

We present below the outline of this course at City Lit.  It looks not unchallenging–we shall see…

Kant (1724-1804) wrote three books with’critique’in the title: the Critique of Pure Reason (1781, 1787), the Critique of Practical Reason (1788) and the Critique of the Power of Judgment (1790). His central problem is to explain our ability to act according to a moral assessment of a way of life. In short, how is enlightenment possible? The first Critique is a study of the limits of knowledge. The second is a study of the intelligibility of moral judgments. The third is a study of the relationship between science and morality. Oddly, Kant devotes the first part of the third Critique to what he calls pure aesthetic judgments. The influence of his analysis of them – of his ‘Analytic of the Beautiful’ – extends well beyond the limits of academic philosophy.

In making our basic assumptions about art and beauty explicit, Kant sets some central problems not only for philosophical aesthetics, but also for the sociology and anthropology of art. Accordingly, we are going to be considering the ideas of four theorists: the philosopher Hans-Georg Gadamer (1900-2002), the critical theorist Theodor Adorno (1903-1969), the sociologist Pierre Bourdieu (1930-2002) and the anthropologist Alfred Gell (1945-1997). All of them have used Kant to clarify their aims. So we need to begin with the basics: Kant’s
analysis of our ways of talking about objects of taste.

21 April

Unlike a person’s reasons for doing a course on something else, your reasons for doing a course on aesthetics are examples of what we’ll be talking about. This is bound to be confusing at times.

28 April

Kant draws a crucial distinction between agreeableness and beauty. To claim that an object is agreeable is just to claim that it gives me pleasure. To claim that an object is beautiful is to claim that it ought to give me pleasure
(regardless of whether it actually does). The point of Kant’s ‘critique’ of aesthetic judgment is to make sense of the distinction.

5 May

Kant regards the pleasure of aesthetic reflection as a kind of satisfaction. An object gives us pleasure if it allows us to do something we want to do. And a beautiful object gives us pleasure. The question, then, is what a beautiful allows us to do. Kant’s basic answer is that it allows us to exercise our imagination unrestricted by rules.

12 May

Kant’s aesthetics anticipates discussion in twentieth-century philosophy of the problem of practical understanding. The problem he sets himself is to explain the idea of an indeterminate norm of taste. It anticipates the problem
of Wittgenstein’s famous discussion of rules and rule-following.

19 May

Our tendency to regard to aesthetic judgments as merely subjective may be due to a misconception of the relationship between thought and language. Heidegger denies that the subject is first of all a kind of spectator and insists on the primacy of practical activity. His analysis of ‘being-inthe-world’ lays the ground for a different way of thinking about aesthetic judgments.

26 May

Gadamer denies that the objectivity of scientific method is the only kind there is. In the popular imagination, science puts everything to test. lt also seems to be the opposite of aesthetic reflection. There is no science of beauty. But there may still be another kind of objectivity, the objectivity of interpretations
of works of art.

2 June

Some of Adorno’s readers have accused him of elitism. He draws a distinction between authentic ad and the products of the culture industry. Authentic art reveals the truth about society. It does so not by representing
society, but by being impossible to represent. Unlike the products of the culture industry, it helps us think the unthinkable about the modern world.

9 June

There is culture – in the anthropological sense of the word – wherever there are human beings. There is as much of it in the practices of a so-called primitive society as there is in our own, and as much at a performance of
stand up comedy as there is at a performance of Swan Lake. This makes cultural refinement a possible topic of anthropological investigation.

16 June

Bourdieu takes aesthetics out of the hands of philosophers and puts it into the hands of sociologists. He offers “a scientific answer to the old questions of Kant’s critique of judgment, by seeking in the structure of the social
classes the basis of systems of classification which structure our perception of the social world and designate the objects of aesthetic enjoyment.”

23 June

Anthropologists have struggled to make sense of the idea of ethnographic art. Are museum exhibits artworks if, for the members of a so-called primitive society, there is no equivalent of our category of art? Gell reverses the
problem. Instead of contemplating the artefacts of an exotic culture as artworks, he considers uses to which artworks are put. His central idea is that artworks are agents.

30 June

In your opinion, is John Cage’s 4’33” worth taking seriously? ls it a piece of
music? ls it a work of art? ls it (or has a performance of it ever been)

7 July


Bypass, Peckham Multiplex 15 April

April 15, 2015



There were three diverting moments in this film.  To start off with, the manager declined to recognise it as a film he was showing and had to get out a flyer to check that it was indeed on.  Then, since the film started immediately and with no brightly-lit scenes, all three of us in the audience had a fun time trying to find a place to live in total darkness.  The third one came at the end of the film….

In theory the protagonist Tim went through a hundred minutes of misery (his father had already deserted the family) as his brother was banged up, his mother died of cancer, his attempts to make a living through petty crime fell further and further short, his sister skipped school and fell into bad company, his girlfriend fell pregnant when he didn’t want to be a dad, and he persisted in robbing houses while developing meningitis (bad move that one)…

But I was baffled more than anything because while the action was supposed to be set in Gateshead, the characters acted and sounded like would-be hard men and other inhabitants from a council estate in Oxfordshire (which is the background of director Duane Hopkins I think).  You could tell it actually was filmed in Gateshead because you enjoyed some views from the south bank of the Tyne and learned about the family’s history as steelworkers and would-be footballers.  More convincingly, it had to be Tyneside because all the colour was washed-out, as in I am Nasrine.

Leaving aside the facts that the characters were actor-beautiful and well-spoken, and that their material conditions of life looked rather comfortable, I was disappointed to be deprived of a spiritual return to the North-East.  But nostalgia was satisfied with a fine display of the cliches of 1970s Soviet cinematography, especially the departed beckoning meaningfully from behind net curtains at the edge of the screen or striding off silently into the distance, depending on gender.  In fact, the scene at the end where Tim decided not to die in Intensive Care but instead to witness the birth of his child was rather good, and would have been more effective if we’d been allowed some saturated colour for contrast as at the end of Andrei Rublev.