Contemporary Arts Media Pty Ltd collected over 2000 titles of videos across all art forms: from performing to performance, from music to electronic media, from physical to spiritual, from visual and beyond. Our main aspiration has been to develop and maintain a 'global hub' for the curious artist, for the art student and for their master teacher and - in general - to promote art and culture in education. CAM named this Hub "Artfilms". `In September 2021 Bloomsbury Publishing Plc, the leading independent publisher, acquired Artfilms, the video streaming service of Contemporary Arts Media. "This acquisition aligns with the overall mission of Bloomsbury Digital Resources to serve a global community of students, scholars, instructors, and librarians by providing creative online research and learning environments that deliver excellence and originality." Kathryn Earle, Managing Director.
Thank you very much for sharing this incredible video! I could attend Maestro Lysy's performances in 1996 and 2000 at the Colon Theatre, Buenos Aires, Argentina. As to Maestro Menuhin, I have several of his historical recordings. BWV 1043 Sometimes it's hard to say: Best version ever as many versions are great. This one is really fantastic and I can remember Maestro Lysy with Liviu Prunaro in 1996. Such lovely memories. Thanks again!
I really don't get it. Someone please help me. How does this make anyone a better actor? What happens if this same exercise is done without masks? I find that the mask is only for the audience.
The Neutral mask work is a classical one for actor's training. Masks help the actors to be more expressive with their bodies because they cannot rely on facial expression or voice. It helps the actors but also it helps the audience focus on the story the body tells rather than. be fixating on the actor' s face.
When I was a kid about 14 we lived on the IC and GMAnd O railroad. I got to watch the Gandy dancers in action. I would give anything if I had a video camera back then.
I invested in a 1968 Seidler apartment with plans to renovate it back to its former glory. I soon discovered the concrete had been poured 40mm out of level in some sections. Rooms no where near squared, walls built out of level by about 50mm in sections. Steel balconies had been wedged into brickwork that expanded and caused the outer walls to crack across the entire wall. There was so many design flaws as well.
This is all Tomascevski technique which was derived from Decroux technique. Fairly simple counter weight exercises, etc. I never really "got" what Grotowksi's theatre was. I'm certainly no "Naturalistic" theatre wonk, viewing it as only a 100 year blip on the screen of Eons of theatrical activity in this world. But his work never seemed particularly coherent or organic to me. And I met WAY TOO MANY people who "read his book" instead of doing the physical work and used it as an excuse to do not very good work. It seems his whole point was to escape the "head" and translate that energy into the body.
I see that you don't know. who was Ryszard Cieślak from Teatr Laboratorium - Jerzego Grotowskiego. (obecna nazwa Instytut im. Jerzego Grotowskiego) z siedzibą Wrocław - Rynek
@@soniaflower7242 I"m well aware of him. I saw him perform a few times. And, being a well schooled theatre person and originally a movement actor who took his time and training in Europe, I understand the common pool of knowledge Cieslak's and Grotowski's work grew out of in Post WW2 Europe.. But do YOU have any practical knowledge of either Decroux work or the Tomascevski's Troupe? Doubt it. What is being demonstrated physically here is a technical mix from both those sources. Do a little looking into the historical basis of things, please, before lecturing. Thanks.
