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Posts Tagged ‘actor’

In 2010, photographer Rose-Lynn Fisher published a book of remarkable images that captured the honeybee in an entirely new light. By using powerful scanning electron microscopes, she magnified a bee’s microscopic structures by hundreds or even thousands of times in size, revealing startling, abstract forms that are far too small to see with the naked eye.

Now, as part of a new project called “Topography of Tears,” she’s using microscopes to give us an unexpected view of another familiar subject: dried human tears.

Read more: http://www.smithsonianmag.com/science-nature/the-microscopic-structures-of-dried-human-tears-180947766/#UBkOIVzILZd8kaLc.99
Give the gift of Smithsonian magazine for only $12! http://bit.ly/1cGUiGv
Follow us: @SmithsonianMag on Twitter

In 2010, photographer Rose-Lynn Fisher published a book of remarkable images that captured the honeybee in an entirely new light. By using powerful scanning electron microscopes, she magnified a bee’s microscopic structures by hundreds or even thousands of times in size, revealing startling, abstract forms that are far too small to see with the naked eye.

Now, as part of a new project called “Topography of Tears,” she’s using microscopes to give us an unexpected view of another familiar subject: dried human tears.

Read more: http://www.smithsonianmag.com/science-nature/the-microscopic-structures-of-dried-human-tears-180947766/#UBkOIVzILZd8kaLc.99
Give the gift of Smithsonian magazine for only $12! http://bit.ly/1cGUiGv
Follow us: @SmithsonianMag on Twitter

A Smithsonian article by Joseph Stromberg about photographs of tears is resonant on so many levels one doesn’t know where to start.

Stromberg writes, “In 2010, photographer Rose-Lynn Fisher published a book of remarkable images that captured the honeybee in an entirely new light. By using powerful scanning electron microscopes, she magnified a bee’s microscopic structures by hundreds or even thousands of times in size, revealing startling, abstract forms that are far too small to see with the naked eye.

“Now, as part of a new project called ‘Topography of Tears,’ she’s using microscopes to give us an unexpected view of another familiar subject: dried human tears….

“Scientifically, tears are divided into three different types, based on their origin. Both tears of grief and joy are psychic tears, triggered by extreme emotions, whether positive or negative. Basal tears are released continuously in tiny quantities (on average, 0.75 to 1.1 grams over a 24-hour period) to keep the cornea lubricated. Reflex tears are secreted in response to an irritant, like dust, onion vapors or tear gas.”

Oh, but I knew that tears from different causes are different. I learned that from a fantasy I was exposed to at age 10, when the future star of stage and screen René Auberjonois, age 13, played the wicked uncle in a production of James Thurber’s The 13 Clocks.

The wicked uncle requires jewels to release his lovely niece, the Princess Saralinda, from captivity.

Although you really will get a kick out of reading the whole book, all you need to know for present purposes is from Wikipedia:  “Zorn and the Golux travel to the home of Hagga, a woman with the ability to weep jewels, only to discover that she was made to weep so much that she is no longer able to cry.

“As the realization that they have failed sets in, Hagga begins to laugh inexplicably until she cries, producing an abundance of jewels. Hagga informs them that the magic spell that let her cry tears was altered, so whereas ‘the tears of sadness shall last without measure, the tears of laughter shall give but little pleasure.’ Jewels from the tears of happiness return to the state of tears a fortnight after they were made.”

(Fortunately, that was enough time to trick the wicked uncle.)

Photo: Rose-Lynn Fisher/Craig Krull Gallery
“Tears of Timeless Reunion”

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One thinks of Iran as repressive, and having watched the doomed 2009 revolution unfold on twitter, I believe it is. But Iranian theater people seem to be managing to squeeze in some fun.

I blogged before about the Tehran production in a taxi, here. Now Studio 360 has a story on what might be called extreme improvisation. I take that back. There’s a script. But the actor doesn’t get to see it in advance.

“Actors face stage fright all the time,” says Studio 360, a radio show. “But consider this scenario: you show up to perform a one-person show, and you’ve never seen the script. You don’t know what it’s about because you promised not to do any research. It’s your first performance, and the only one you’ll ever have. The theater’s artistic director hands you a fat manila envelope with a script. And go.

“Also, the audience will decide whether you drink a glass of water that appears to have been poisoned.

“This is the premise of White Rabbit, Red Rabbit, by Iranian playwright Nassim Soleimanpour. ‘I did not know what was in front of me inside that envelope,’ says actor Gwydion Suilebhan. ‘What if this script is going to require that I disrobe? Or insult my mother? Or be rude or self-debasing?’ …

“Soleimanpour pulls his strings from afar, because — although the play has been performed in Toronto, Berlin, San Francisco, Brisbane, Edinburgh, London, and now Washington, DC — he really is in a cage. He doesn’t have a passport and can’t leave Iran, so he has never seen his play performed. ‘Nassim has given up the kind of control that is customary for playwrights,’ says Suilebhan, of working with actors and directors to realize the play. ‘At the same time, because he has put all of these restrictions on how it is to be performed, he has seized certain kinds of control that playwrights normally do not have. So he is literally embodying the ideas of control and submission and manipulation that he’s baked into his script.’ ” More.

Photo of Iranian playwright Nassim Soleimanpour found at the HuffingtonPost

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A NY Times article I saved from November 24, 2009, remains as inspirational as when I first read it.

In “Learning His Body, Learning to Dance,” Neil Genzlinger writes that “Gregg Mozgala, a 31-year-old actor with cerebral palsy, had 12 years of physical therapy while he was growing up. But in the last eight months, a determined choreographer with an unconventional résumé has done what all those therapists could not: She has dramatically changed the way Mr. Mozgala walks.

“In the process, she has changed his view of himself and of his possibilities.
Mr. Mozgala and the choreographer, Tamar Rogoff, have been working since last winter on a dance piece called ‘Diagnosis of a Faun.’ It is to have its premiere on Dec. 3 at La MaMa Annex in the East Village, but the more important work of art may be what Ms. Rogoff has done to transform Mr. Mozgala’s body.

“ ‘ I have felt things that I felt were completely closed off to me for the last 30 years,’ he said. ‘The amount of sensation that comes through the work has been totally unexpected and is really quite wonderful.’ ”

Choreographer Rogoff saw Mozgala perform the role of Romeo in a production by Theater Breaking through Barriers in March 2008 and knew she wanted to create a dance piece for him.

“Originally, [Ms. Rogoff] envisioned a simple study, maybe 10 minutes long. Mr. Mozgala’s expectations when he agreed to the project were equally narrow: he said that he thought that she would either merely create a dance that made use of the physical abilities he already had or, after seeing his limitations, tell him, ‘Thanks but no thanks.’ ”

It turned out that their expectations were way too narrow. Read more.

Photograph by Andrea Mohin at The New York Times shows Gregg Mozgala rehearsing with Emily Pope-Blackman.

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I have always loved theater, and even when I have been in a play and felt stage fright, I have been able to make it work as a springboard for the lines I have to say. But when I have to do a presentation as myself and not a character, I freeze up.

Which is why I keep taking classes in how to give presentations, to no avail. But the class that I took last week may finally help me. And I think the secret of it was that the instructor, though an experienced corporate coach and adviser, is also a practicing actor and playwright.

He was very good at paring down the words participants wanted to use and helping choose the most effective ones. And his ideas about how to make an entrance, how to stand, natural gestures to use, tone of voice, and eye contact seemed to have roots in the stage. Even the freshness of his own presentation to the class seemed the result of having to say the same lines night after night in a show and make them seem new.

Of course, no class is magic, so we have to wait and see how it goes when I do my work presentation in late March. But I am definitely going to try harder to apply what I heard than when I took presentation classes in the past full of jargon, phony jokes, and gimmicks that are supposed to work but don’t seem to have a lot underpinning them.

The teacher was Brandt Johnson. See the actor here. See the corporate consultant here. Another one of these people who lead several lives simultaneously.

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Speaking of theater, here’s a new one on me.

According to Edward Rothstein in the NY Times, “Passengers on ‘The Ride’ — a tour bus with floor-to-ceiling windows and nightclub-style audio — tool through Manhattan, encountering such (pre-arranged) sights as a businessman breaking into tap dance, a juggler tossing hot dogs, and a ballerina in a glowing tutu dancing around Columbus Circle.” Read more.

I’d love to look out a bus window and see a businessman breaking into a tap dance. Years ago, I knew a tap dance teacher who wanted to organize groups of “shoppers” who could suddenly break into choreographed tap routines up and down supermarket aisles. Am still looking for them.

I do have to wonder what NYC tourists expect to see when they look out bus windows. An artsy guy, my brother’s classmate, was walking down the street in Greenwich Village minding his own business one day in the sixties when someone leaned out of a bus and called, “There’s one of them now!” One of what? he wondered.

Whatever you’re looking for in New York, you can probably find it. All you have to do is believe.

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I met Mary Driscoll in playwriting class last summer.

Mary has had a lifetime focus on social justice for marginalized people. She has traveled to foreign countries to work with refugees. For people with HIV, she has taught pilates and the healing art of telling one’s stories. She has performed with mission-oriented theater troupes. And she is the founder of  OWLL, On with Living and Learning, which helps ex-offenders build new lives after prison.

At Mary’s invitation, my husband and I found our way last night to what is a virtual artist colony in the long-abandoned but reemerging warehouse district of South Boston. In Mary’s loft apartment, one of the artists she has drawn into her orbit presented a wonderful cabaret show to raise money for OWLL’s production of Generational Legacy about mothers and children after prison.

Michael Ricca interpreted songs by Michel Legrand with great humor and feeling (including the theme song of our wedding, “What Are You Doing for the Rest of Your Life?”). Ricca is performing the songs and others by Legrand at Scullers in March.

My husband and I enjoyed talking to Mary’s guests  — artists, actors, musicians, social activists, old  friends. We’re especially keen to keep an eye on the doings of the Fort Point Theatre Channel in the Midway Studios building, where Mary  lives and works. The collaborative productions in the Black Box Theatre sound intriguing and offbeat. We like offbeat.

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