[occupation: phd research student, dramaturg]
[thesis: editing an admiral's men play c1600]
[the wherefore: it's not that i can't see the forest for the trees. it's just that sometimes i'm distracted by the twigs.]
tittymeg: /’tɪtɪmɛg/
A whitefish of Canadian and North American lakes, Coregonus clupeiformis. (OED n)
titty mag: /tɪtɪ mæg/
A magazine featuring nude, partially nude, or otherwise suggestive photos of women. (common US usage; cf. OED n.6 1d)
[just think - the only aural difference is the way you say that last vowel.]
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Alfred Hickling gives a promising review to Opera North’s current production of ‘Giulio Cesare’, but I think he misinterprets how the director (Tim Albery) and the Cleopatra (Sarah Tynan) view the presentation of a woman’s power in a man’s world. For one thing, neither of them talk about flirtation. For another, I think it’s naive to consider flirtation as an activity outside the bounds of power struggle.
The video is a refreshing insight into the way two perspectives (i.e. one dominated by telling a collective story, the other by telling an individual story) come together to tell the same story.
Hickling’s full review here.
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books about the store. a favorite in the trend of stop-motion bookimation.
The Joy of Books
Many sleepless nights were spent moving, stacking, and animating books at Type bookstore in Toronto to create this video.
(via Sarah Moran)
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The Bling Beggar of Bednal Green
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What have I always said about this? I’ve always said, ‘Maybe your concept should just be to tell the best story possible.’
Two reviews on the newest concept-led Shakespeare production in London - Ian Rickson’s ‘Hamlet’ at The Young Vic. Reading these together (in either order) is a fascinating look at two seasoned critics working through the problems of a disappointing production. Unfounded, under-developed concepts can easily drown good storytelling despite even the most valiant individual performance, and both men seem to agree that Michael Sheen gives a fine Hamlet in a production that doesn’t float.
Michael Billington - Guardian - 3 stars - firm but even.
Billington responds to the idea that emoting isn’t what sells the emotion of Shakespeare (hint: it’s the text itself, and the rhythms it holds). He also quotes the newest Arden edition, which suggests to me that scholars should be careful of their critical responses when attached to a play text OR that scholars and practitioners need to be in conversation about the reaches and practical impact of those critical ideas. (I’d say, to be safe, do both.)
Charles Spencer - Telegraph - 2 stars - scathing and emotional.
Some of Spenser’s negative language: irritated, cheated, mindless, egotistical, dubious, infuriating, tiresome, settling, embarrassingly inept, meddle so disastrously.
All of his positive language: Sheen…could be right up there with the great Hamlets, charismatic, winning wit, affecting, usually such a fine director.
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“Square brackets” are referred to by their proper name, ‘crotchets’…”
source:
p1 - But I Digress: The Exploitation of Parentheses in English Printed Verse - John Lennard
[1. since when are they called ‘crotchets’?]
[2. what a way to start a book!]
[3. yes, i am reading this book.]
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It’s a Monday. I’ve yoga’ed, I’ve check all the online things, I’m about to shower, eat breakfast and get to conquering this week.
Lately I’ve been feeling blocked in a lot of my work. Blocked by irrational fear and by a lack of motivational fear. Blocked entirely by myself because I started to treat my work with solemnity rather than seriousness. Sure, it’s important to understand the bibliographical aspects of the document. But - I’m working on a play. The fun is built in.
Time to get to work.
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Fiona Shaw and Simon Critchley talk about nothingness [from the Talk About Nothing series at The Rubin Museum of Art, recorded Jan. 17, 2011]
Things get really interesting at 7:45, when Ms. Shaw starts talking about inherited rhythms. I think anyone who has worked on a play or part written for a specific dialect understands how deeply rhythm is embedded in language - even without the help of punctuation - but I wonder how often we consider finding ways to notice our own rhythms. What would we learn about how we think and breathe? Indeed, what about our inspiration?
Working right now on punctuation as much as annotation, I’m on the look-out for the clues of rhythm on the paper. While we can be fairly certain that Mamet and Stoppard approve of punctuation in their publications, we step into a murky field of theory and accident when it’s time to decipher the use and importance of points on an early modern page.
I know my playwright(s) heard rhythms, too, and I wonder if I’ll hear the same ones.
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you say tomato, i say tomato.
you drink nippitatum and i drink nippitatum.
tomato, tomato, nippitatum, nippitatum.
let’s just call for sack.
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