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To answer your questions about the NO SE :. There was no commission to make this film. I was a film major and heavily interested in third world cinema, especially post-colonial theory and the politics of revolution and resistance in film movements. I was going to a church at the time that was interested in issues of social justice, in particular trying to make ties of solidarity between black South African Churches dealing with combating the AIDS epidemic, and Santa Barbara churches that could help them monetarily.

So we left The next day, while waiting for a flight out of Atlanta to South Africa we were delayed. September 11th kept us in Atlanta for 3 more days. We eventually made our way out to South Africa.

Her pastor, Reverend Spiwo Xapile asked us to go and pray for her because he had to attend a funeral. On average he attends 5 funerals a day; the majority of these funerals are AIDS-related. So I documented the prayer session. The next day we found out that Thandeka had passed away. The team was able to pay for the funeral expenses. A small condolence.

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Yet all the time we were there, people kept giving us their condolences about the events of September 11th. I could only think of how small our losses were in comparison to their on-going losses without any end in sight. So I held onto this footage of Thandeka. It haunted me. It had become personal.

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I had my own reasons. My mother passed away when I was 8 to brain cancer and my father, an alcoholic, was killed in a drunk-driving accident when I was Death as been a close acquaintance since I was little. So I have always been motivated to help others who have to face Death, particularly children. If you read the Juilliard journal article you know that I helped start a camp in South Africa that teaches self- empowerment through the arts.

You can get more info about that though Artists Striving to End Poverty asteponline.

I wanted to see if I could edit three things together that seemingly had nothing to do with each other, and make them all into one story. The exploration with the actors was shot around the cemetery on th Street by the Hudson River. Both of these explorations were guided improvisations where we had talked about abstract ideas and prompts and they just ran with it. Since my background is in documentary, I would interfere very minimally and would merely observe the natural evolution of their work.

I just merely listened to what the piece wanted to be. I had an intuition for the experiment, but the outcome was beyond my initial imaginings. The music helps. Once you find the music the piece will edit itself. I love the work of Djivan Gasparyan.

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He is an Armenian composer who works with the duduk. I wanted something that would speak of the dark night of the soul, without gilding the lily so to speak. Two of his songs fit perfectly into this ghostly world I was constructing. The other piece was by Eluvium , a repetitive hypnotic electronic piece that would meld the worlds into one.

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Also, while making this film, my two grandmothers that raised me passed away. The night the dance was shot, my father's mother passed away, and a month after finishing the film, my other grandmother passed away. So for me, the piece has been very cathartic. As for future screenings, I don't know. I am always looking for places for it to screen. I am in the process of looking for new festivals for it to be screened at. The process continues. There are a couple of new projects that I am interested in working on.

Some are experimental pieces like NO SE that involve dance, and others are a little more traditional. I am newly graduated, last May so I am trying to get my work out there, so I can work with like minded people. I am looking into grants for projects. I am always trying to mend the political with the spiritual, and mix it up and see what happens minus any pontification or neatly wrapped ending.

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This makes me want to return and do a piece on them and the effects of growing up without a parent in an impoverished community. The promised copy of the DVD arrived; I am almost afraid to watch it because I know how affecting it will be. In recent days it seems we have had nothing but bad news from around the globe: unfathomable murders and suicides, continuing bloodshed in Iraq, the disastrous earthquake in Italy. NO SE reminds us of the ongoing plight of the African people which is something we and I surely include myself don't think about from day-to-day as other headlines - from the shocking to the shallow - consume our attention.

AIDS has caused immense human suffering in the continent.

The most obvious effect of this crisis has been illness and death, but the impact of the epidemic has certainly not been confined to the health sector; households, schools, workplaces and economies have also been badly affected. During alone, an estimated 1.

Reinforcing Patriarchal Systems Of Power In BOC’s “‘Modern’ Don Giovanni”

Since the beginning of the epidemic more than 15 million Africans have died from AIDS, which is far more than half the worldwide total of 22 million AIDS-related deaths to date. Seeking solace in music, dance, art and literature at times seems selfish and petty to me, and I wish I had the courage and adventurous spirit to actually do something more than fret about the about the poverty, misery and injustice that affect so many of the world's people.

April 08, Permalink. Although other conductors have sometimes been on the podium for this opera at the Met, this will always be thought of as 'the Levine RING ' and the CD and DVD documentation of it will undoubtedly be referred back to many times in future years. Waiting for the downbeat, I felt a bit wary that the performance could be something of a letdown. We had a debuting Brunnhilde who was pretty much an unknown factor and we had the great Wotan of the past quarter-century who would be singing against vivid memories of his own past success in the role.

Levine entered the pit to a genuine ovation, then launched a propulsive reading of the opening storm music played with full-bodied sound by the Met orchestra. From his first note to last, Botha poured out his large, warm sound with thrilling amplitude and unstinting generosity. But it wasn't just powerhouse singing: he also delivered many nicely-finessed turns of phrase, tapered to piano. His vocalism was both heroic and poetic. It's a voice that speaks resplendantly in the big House and as with his Lohengrin, Walther, Otello and Don Carlo Botha showed himself an extremely valuable commodity: a tenor who can tackle the most arduous roles and sound beautiful doing so.

For such a large man, Botha moves quite well onstage. Waltraud Meier's Sieglinde was thrilling. After several years of singing some of the most demanding roles in opera - and of always demanding so much from herself - the Meier tone can have a ravaged aspect. It doesn't bother me in the least, especially on a night like tonight where she is on such exalted expressive form.

Her verbal intensity keeps all the conversational phrases of the opening scene alive. With 'Der manner sippe' the narrative becomes a personal expression; how beautifully nuanced her singing and how thrilling the emotional buildup as she crests toward the climactic phrase. Her tenderness in 'Du bist der Lenz' was breathtaking and in the mounting ecstacy of duet, Meier sent some searing top notes out into the House.