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In Germany, its multiple languages were translated into German, which I don't speak, so having read All Quiet On The Western Front, the novel on which it is based, I focused on the production's sound, shape and atmosphere and didn't worry about the details. Very enjoyable it was too. Back in Edinburgh, I was looking forward to filling in the gaps, but found instead there was so much reading to be done, as Flemish, German and French were turned into English surtitles, that my attention was drawn away from Perceval's sober and subtle staging. What had seemed graceful, meditative and poignant in Germany now seemed heavy going, which sadly meant the director's observation about how every solider had a similar experience of war became lost in translation. Thanks to its more dynamic approach to sound, choreography and stagecraft, Vladimir Pankov's production of The War for the Chekhov International Theatre Festival and the SounDrama Studio treated the same subject with greater immediacy. It was part of an opening weekend salvo that showed Mills' theatre programming at its best. Along with the entertaining provocatio.
ents, snappily told but without depth or purpose. As a piece of film, it has novelty value but is no substitute to watching an actual Nike Air Force 1 Mid Womens
Sangre and The Man Who Fed Butterflies to the Festival in 2010 and Histoire d'Amour last year. There was nothing superficial about the stories this Chilean company wanted to tell. They had endured the tyrannical regime of Augusto Pinochet and were drawn to tales of violence or escape. They told them by placing their actors in a filmic landscape and bringing jump cuts, close ups and split screens into the theatre.
Once again, it was impressively done and, once again, it constrained the Yellow Air Force 1 actors in a way that denied them spontaneity and presence. Like Helen Lawrence, their work was compromised as film and neutered as theatre. On both visits, however, Teatro Cinema did contribute to the thematic thrust of Mills' programme: the Americas in 2010 and technology last year. With the exception of 2012, the artistic director has structured each Festival around a governing idea. Looking back, it's striking to see how influential those ideas were and how each theatre line up was shaped by them. This year, being the anniversary of the First World War, it showed itself most obviously in two plays, The War, one of the highlights of an impressive opening weekend and, in the last week, Front by the Thalia Theatre. I'd already seen Luk Perceval's production of Front earlier this year in Hamburg and had been expecting to enjoy it even more this time.
1940s movie. Of course, there's a strong argument to suggest it's the job of festivals such as the EIF to test the limits of every art form and to see how technology changes things. It's not impossible to imagine Douglas using the same technique to better effect with a more complex script and a more theatrical interrelationship between actor and screen. Equally, however, he could run Nike Air Force Black And Green
into the same stumbling block as Teatro Cinema, which brought Sin Flyknit Air Force 1 Multicolor Release Date
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