#jacques lecoq

[24-7fandombrain]

Having just "graduated" from the first part of clown school, here's a breakdown of what clowning is because I know I'm going to be talking about it alot.

What is clowning?

Clowning is, essentially, the process of a performer breaking free from their inhibitions in order to truly act impulsively. This is achieved by putting on the red clown nose, which allows the performer's clown to come out.

What is a clown?

A clown is, for all intents and purposes, the performer free from all restraints and thought, to where they just live and feel in the moment. Clowns are treated as a separate entity from the performer, and in many ways they do feel like separate people. All clowns are unique in their own ways, since they are derived from real people.

Everyone has two types of clown: an out clown and an in clown. The out clown is the first type you will manifest when you begin learning clown. They are typically outgoing and energetic, though again, all clowns are different. In clowns are typically more shy and reserved, and are manifested after the out clown is fully manifested.

The only unifying visual trait of clowns is the nose. Some clowns wear full white face, others don't wear any make-up at all. Some clowns wear flowly, extravagant costumes, others just a T-shirt and jeans.

What is a clown handler?

A clown handler is a person who monitors a clown or group of clowns to keep them in target. It is a clown handler's responsibility to keep everyone safe, as their impulsively can place them or others in dangerous situations. The clown handler is encouraged to always ask more of their clowns and directly engage with them. Some clowns will require a clown handler any time they are out, while others will only need one for performances.

Where did clowning come from?

Modern day clowning is based on the work of Jacques Lecoq, a French stage actor and coach. Part of Lecoq's work is based on the use of masks to allow the performer to embody certain emotions or characteristics. The use of neutral masks also allows the performer to inject their own creativity into their performance. The prime examples of Lecoq's neutral masks are the larval mask and, of course, the clown nose. The clown nose was the last mask Lecoq would introduce to his students, as it was the smallest and most neutral mask.

Why clown?

Aside from it being the most fun you'll have learning theatre, clown is intended to teach actors how to be spontaneous and impulsive. Clowning teaches actors to listen to their gut instinct in a scene and make new and interesting choices.

What are the rules of clown?

There are six main rules that all clowns must follow:

No one, including yourself, can ever see you put the nose on or take it off.

Clowns must always listen to the clown handler.

Clowns can never look away from the audience.

Clowns always say yes.

Clowns can do anything.

Clowns feel all emotions to the max.

Meet Axolotl- My Clown

Axolotl, or Axo, is a fantasy world traveler, and they use they/it (or really any non-gendered) pronouns. They are strongly attuned to nature, being attracted to leaves, flowers, and other plants. They also show an interest in art, and especially drawing. They don't care much for what is expected of them, and has several times ignored their assignment in favor of whatever interests them in the morning. They're very "grabby", as in they will pick up any item they find interesting (they stole our instructor's glasses off their face before- long story). They are very energetic, and as a result, have little patience. They can't stand still and will get quickly frustrated if asked to do so. They can be destructive, having thrown marbles at people, nearly broken a glass, accidentally broken a glass, and torn up props. They, however, don't do this with malicious intent. Axolotl simply lacks the capacity to understand that they are doing wrong. Even when told off, they don't understand that they are doing wrong and may be doing the same thing just seconds later. Axolotl is my out clown.

[travsd]

The Jacques LeCoq Centennial

French mime isn’t our thing per se, but we are of course very interested in physical movement in the theatre, especially as it relates to clown, so we feel the centennial of the birth of theorist/teacher/performer Jacques LeCoq (1921-1999) is worth a mention. LeCoq’s well-known pupils included Avner the Eccentric, Steven Berkoff, Julie Taymor, Gates McFadden, Toby Jones, Geoffrey Rush, and…

[la-cocotte-de-paris]

I must say, some of these movement and warm up exercises are doing wonders for my body

[wheelsgoroundincircles]

1936 Bugatti T57S Atlantic Coupe

The third of four Atlantic coupes built by Jean Bugatti, this one is famously known for having been hit by a train at a railroad crossing in the French countryside in 1955. Much has been written regarding this car's authenticity, and it is true that not every panel is original. Yet before that tragedy this car had experienced a storied and historically important life. Many a race car has been saved from the scrap heap because it had a unique provenance. This car was worth preserving for its unique beauty alone, as well as for the same reasons that any unique historical object is saved: to continue its history, to honor the craft of the original builders, and to illustrate it's story to those who may not already know it.

This car is uniquely different from the other Atlantics as it had been restyled soon after it was built. The evidence indicates that the styling changes had been commissioned by the car's original owners and completed by renowned coachbuilder Joseph Figoni, who had his own singular ideas about flowing surfaces and shape.

The first owners, Jacques and Yvonne Holtzschuch, took delivery of 57473 in 1936. In the earliest known photograph of the car, taken at the Concours d'Elegance de Juan les Pins in 1937, the body was black with a light beige pigskin interior. In the next known photograph, taken in 1951 at the Circuit International de Vitesse de Nice, the body and interior had been significantly restyled. In order to participate in the race, the body had also been repainted blue in accordance with the Code Sportif International de la F.I.A. After changing hands several times, the car was eventually purchased in 1952 by René Chatard, who had it repainted gray near the end of 1954. Chatard and a female companion were driving near Gien, France when they were struck and killed by a train on August 22, 1955.

Paul-André Berson recovered the remains in 1965, and started a decade-long project to rebuild the car. In the restoration he chose to work with the intact right-hand coachwork, and replaced the damaged parts. Upon completion in 1977, he sold the car to collector Nicholas Seydoux, who later had it restored again by André Lecoq. In 2006 the current owner purchased the car from Seydoux, and the unused dashboard, trim pieces, engine block, mechanical parts and original damaged body panels from Berson.

The car was then on display at the Pebble Beach Concours d'Elegance, the perfect environment for the world to rediscover this very special car.

[eddie-redmayne-italian-blog]

Eddie Redmayne Lives a ‘Monastic’ Life for Broadway’s ‘Cabaret’: Lay’s Chips for Lozenges and ‘the Most Painful Massage’

Redmayne tells IndieWire about life behind the scenes of "Cabaret at the Kit Kat Club," where he reprises his West End role as The Emcee for Broadway.

BY RYAN LATTANZIO

APRIL 23, 2024 3:30 PM

Life’s not all a cabaret for film actors making their way to Broadway.

In the case of Eddie Redmayne, who now stars as the ghoul-like and flamboyant Emcee in director Rebecca Frecknall’s “Cabaret at the Kit Kat Club” at New York’s August Wilson Theatre, life behind the scenes is more “monastic,” as he told IndieWire, than song-and-dance bacchanalia.

“When you’re doing a musical like this, it’s quite monastic living, and it’s almost more like being an athlete than an actor sometimes because when you’re doing eight shows a week, you’re keeping your voice in decent nick,” said Redmayne, Zooming from the backseat of a car between appointments, which just included lunch with Joel Grey, who famously starred as the Master of Ceremonies in Bob Fosse‘s Oscar-winning 1972 film.

“It’s quite a physical role,” said Redmayne, who first played The Emcee on the West End in 2022, earning a Laurence Olivier Award for Best Actor in a Musical. In this just-opened Broadway version, Redmayne sings and dances in gender-bending garb, impishly contorting himself on a 360-degree stage opposite Gayle Rankin as alcoholic cabaret ingénue Sally Bowles.

“I wish I could say I was out living a hedonistic Broadway existence, but actually, you are drinking a ton of water,” Redmayne said. “I haven’t got a huge amount of experience in musicals. I listen to all of our musical theater actors in the piece who give me tips on which voice lozenges to use, and apparently, Lay’s chips, like the oil and the salt in that, [are] very good for keeping your voice moist, and these random Chinese medicines that are good. So I take any piece of advice I can to try and keep me upright basically.”

Redmayne made his Broadway debut with the play “Red” opposite Alfred Molina, earning a Tony Award for Best Featured Actor in a Play in 2010. But Redmayne’s musical acumen is limited to the movie “Les Misérables” (he openly despises his own musical performance in the film) and now “Cabaret.” He displays considerable pipes in this splashy stage show, singing lyrics by Fred Ebb and music by John Kander from the 1960s musical.

You’re rehearsing from 9 o’clock in the morning to 6 in the evening, and you’re doing these numbers over and over again. Your voice is a muscle, so it’s about getting to the point where it’s able to sustain,” Redmayne said. “There is a lot of not just singing, but there are quite vocal introductions. You’re having to roll out a lot, using those foam rollers. I go to this brilliant man called Greg Miele, who is a bodyworker, on my day off. I go to get a massage, and [my wife] is like, ‘Lucky you.’ And I go, ‘No, but it’s the most painful massage you have ever experienced.'”

Redmayne’s turn as The Emcee — is he a figment of the Weimer-Era Berlin imagination? a manifestation of Nazi terror taking over? a real person at all? — is intensely physical and loose-limbed. Prior to the fall 2022 West End debut of “Cabaret,” now transferred to Broadway in an even more audience-immersing format, Redmayne took a movement course at the École Internationale de Theatre Jacques Lecoq to understand his character’s body language.

It’s housed in this old 19th-century gymnasium. It was a course on Theater of the Absurd, and it was for professional practitioners,” Redmayne said. “There were people from all over the world, aged 17, 18, to 60, and we did lots of mask work, and there were some brilliant teachers there who were incredibly blunt. You made a fool of yourself and put in your place, and yet you’re also liberated to rip off all the excess, particularly perhaps having worked in film for a while, that had built up in me.”

As for that lunch with Joel Grey, Redmayne said he indeed has the original Master of Ceremonies’ stamp of approval. “When I first did the show in London, it was our opening night, and I was halfway through, it was at the interval, and there was this extraordinary bunch of flowers, and I opened the card and Joel had sent me flowers welcoming me to The Emcee family, and he has been so generous,” he said. “He came to see the show with John Kander the other night. I’m not going to lie, I was utterly terrified and intimidated, but they could not have been more generous and kind.”

Cabaret at the Kit Kat Club” is now on Broadway. Stay tuned for more in conversation with Eddie Redmayne on IndieWire soon.

[idrellegames]

did u have to learn how to apply clown makeup

Ah, I probably should explain. 😂

The stereotypical clown 🤡 is not close to what it is in actuality at all. Clown is a genre of physical and movement theatre more akin to mime, mask, improvisation, and physical comedy. Clown characters are over-the-top and dynamic, with a heavy focus on physicality and gestural language to create scene work. They can be melodramatic, humorous, tragic - there's a lot of different ways it can go in different scenarios.

(The classic white makeup and red wig aren't used regularly in theatre clown - you'll have the nose, but that's about it.)

And easy comparison, though it's not quite the same thing, would be the kind of physical comedy you get in Charlie Chaplin films?

In my program, clown was a second year course that served as a foundation for moving into physical theatre and circus. Our approach was informed primarily by Jacques Lecoq's pedagogy as that's where our instructors trained (tl;dr - Lecoq founded a physical theatre school that has changed how movement theatre is taught in western drama schools).

We each created a character, determined their physicality and their costume, and then let them loose in different scenarios. Some were scripted, some were improvised, but it was always some form of a heightened, exaggerated state of being.

[scotianostra]

The Scottish actor Alex McAvoy died on June 16th 2005.

Most famous for two roles, Sunny Jim in the original Para Handy tales of The Vital Spark, through the 60’s and the teacher in Pink Floyds, The Wall, McAvoy was much more than a two horse trick! the two roles you might know him from.

Throughout his career he was a stalwart of Scottish theatre, especially pantos, starring at the top theatres in Edinburgh and Glasgow. He was also a master of mime.

In the earlier part of his career, McAvoy ventured into the world of variety and light entertainment, and was the first foil to the kilted Scottish comedy singer Andy Stewart.

The summer show promoter George B Bowie envisaged him as a future star comedian, and headlined him in the holiday-season revue of 1963 at the Barrfields Pavilion, Largs. But despite success in that field, he was not cut out to be a Scotland-based funny man; a wider field, especially in mime, beckoned.

As a schoolboy growing up in Scotstounhill, Glasgow, second eldest of a family of eight, McAvoy was always an artistic lad, creating small puppets out of colourful old clothes and running his own mini-puppet theatre. He also loved to act.

The wee boy who just had to become an actor enhanced his love of the arts by enrolling for classes at the School of Art in Glasgow’s Renfrew Street; his first job was in the big fashion stores of the city, increasing the profits of the owners by dressing their windows with all the delicate artistry at his command. Young McAvoy had a flair for the arts, even in the sterner world of retail commerce.

Inevitably, in the fabulous 1950s, when Glasgow was seeing a new interest in the dramatic arts, he just had to join other aspiring thespians at the Royal Scottish Academy of Music and Drama in Glasgow’s Athenaeum building. The burgeoning Citizens’ Theatre in the Gorbals needed trained actors, which is why young McAvoy found himself alongside such future performers as John Cairney and (set to be a gem of television presenters) Mary Marquis. He had the built-in creative sense but he needed the basic study and training. Live theatre, especially in so vibrant a nursery as the Citizens’, then housed in the old Princess Theatre building, was to hone the talents of the lad from Scotstounhill.

Just look at his credits. Small parts and big parts, character roles in Z Cars and Dad’s Army, and meaty parts in Sunday night dramas. Old lags or angry army sergeants, McAvoy could transform each role into something truly realistic. He was also a performer in musicals, some of you might remember the original TV movie for Joseph and the Amazing Technicolor Dreamcoat in 1972, before the 80’s revival, McAvoy starred as Joseph’s father Jacob in that, a role I know myself having appeared in my school production in 1978 as Jacobs youngest son, Benjamin. Other notable appearances include The Bill, Minder and the Peter Capaldi film, Strictly Sinatra alongside such Scottish stalwarts as Una McLean, Brian Cox, Iain Cuthbertson, Tommy Flanagan and Kelly McDonald.

Not everybody knows that McAvoy’s role as the Teacher made him a familiar face from Pink Floyd’s The Wall, the 1982 global cult film with Bob Geldof as a burned-out rock star. It spawned thousands of items of memorabilia, and McAvoy’s animated character in the college cap was seen on t-shirts around the world, introducing him to millions.

His love of mime was intense, and he made a mark, naturally, in the busy world of Scottish pantomime, with featured roles at the King’s theatres in Glasgow and Edinburgh. The mime in pantomime had strong appeal. One day, borrowing from his actress friend Mary Marquis a French vocabulary and phrase book, he crossed the Channel to Paris to study and work in L'Ecole de Jacques LeCoq. It had been his secret ambition to go there for some years.

LeCoq was his idol, and friends at the school say his miming skill was such that he could make anyone know what he was saying without words. He became deeply immersed in the international world of mime and right up to his death was still in touch with that famous school.

McAvoy had been ill from leukaemia for some years, but retained his link with live theatre and, before being hospitalised, had taken on a cameo part on the London stage. He was a sensitive man of the arts to the end. He died on this day, 2005, in London, aged 77.

[gatespage]

Clowning around… with a difference!

29 Apr 1982 - The Stage

Transcript below

IF THE MENTION of clowns conjures up images of empty-headed buffoons, then "Bumps" at the Lyric, Hammersmith, should be a pleasant surprise. For these clowns are different.

They're eccentric yes, most sport false noses, and all wear extraordinary garb; they're remarkably funny too, not in the slapstick tradition, but in the manner of misfits, who talk in riddles and non-sequiturs to expose characters who are also vulnerable and lovable - even the grumpy ones. The show's creator, Cheryl McFadden, has woven great charm into the proceedings.

Cheryl was "discovered" during the New York run of "Nicholas Nickleby". Several of the actors heard about her locally-famed clown improvisation classes, attended one and were hooked enough to insist on regular sessions for the rest of their season.

Indeed, her adroitness, in drawing fresh skills from accomplished actors so fired Edward Petherbridge that he determined to bring her over to create a show for British actors. He asked her to devise something that would last about an hour, and teamed it with "Knots", based on R.D. Laing's psychological conundrums. And because "Knots" puts the same actors in normal dress in unremarkable situations that emphasise the foolishness inherent in all of us, the coupling is complementary.

Shortage of time was difficult for Cheryl. "I've done this sort of thing before in America but never in the space of five weeks. We (there are eight actors in the cast) spent the first few days just doing classes and building a rapport, and we went very slowly because we had to break through the barriers of everyone's terror of the unknown, including my own.

"But Edward has an amazing instinct for choosing people.and everyone has worked tremendously hard so I'm excited about what has evolved."

Cheryl, whose colouring and build reminded me of Jane Asher, looks on the clown as an extension of the actor's self. In "Bumps" she has tried to extend her actors still further by involving them in all the performing arts. They all have to play musical instruments (several of them had had no previous musical ex-perience), as well as speak, mime, sing, dance, and paint.

She herself is pretty versatile, too. Her style of teaching stems from a period of study in Paris with the mime Jacques Lecoq, and in London her role has also called on her talents as writer, director and visual initiator. When she's not busy on any of these, she acts. She just finished a film, "The Outdoorsters" She doesn't care for the superficial, but she does care about being involved in theatre that illuminates and that provokes a gut reaction in its audience. With "Bumps", I think she has succeeded

[24-7fandombrain]

Clown school (yes I actually mean clown school) ends for me tomorrow, so here's what I think each of the main six's clowns would look like!

(For clarity's sake, I'm not talking about circus clowns. This is clowning based on Jacques Lecoq's theories of acting, in which the clown nose acts as a mask to give the performer permission to lose their inhibitions. This action, putting on the nose, allows that performer's clown to manifest and take control.)

Gov's Clown- Red White Blue

Red White Blue (usually shortened to just Red) is one of the most relaxed clowns out of everyone in the statehouse. Red frequently moves around without a care in the world, including what is expected of him. Gov will let his clown out whenever he's feeling overwhelmed by all that's happening around him. Red isn't much of a troublemaker, and can usually be trusted to be left to his own devices. However, he cannot be trusted with a secret. He has very loose lips and will tell anyone anything that he knows. Red wears the simplest costume, just a T-shirt and sweatpants. His favorite activities include sleeping, lounging in Gov's desk chair, and eating other people's food.

Texas's Clown- Bluebonnet

Bluebonnet is, surprisingly, the nicest and friendliest of the clowns. The true embodiment of "southern hospitality", Bluebonnet will often give random items to other people and clowns as presents (my clown does this a lot with plastic silverware). They don't get into much trouble on their own, but can be persuaded to by other clowns. Texas doesn't like letting his clown out and deeply dislikes Bluebonnet, though Austin really like him and does his best to persuade Texas to get him out more (I might make a post about Austin's clown later). Bluebonnet's favorite activities include

California's Clown- Hollywood

Hollywood is a very energetic clown, quite literally bouncing off the walls if he's left alone for too long. He's very artistic, though this can lead to some minor property damage when they use walls, floors, and furniture as "canvases". Like Red, Hollywood doesn't really care about what other people think of them, but they love attention being on them. It's for this reason that California usually doesn't bring them out without an audience present. Hollywood loves interacting with an audience, sometimes bringing members up during sets. They are also highly emotional and easily upset. They love putting hats, jackets, and other costume pieces on others, and if you don't let them, they will cry. Hollywood's favorite activities include singing, painting, and making outfits for people.

New York's Clown- Rat

Rat is almost the complete opposite of New York. Sweet, aloof, and easygoing, Rat gets along well with most people and clowns and rarely holds a grudge. He is more of a follower than a leader, content to follow the lead of other clowns and the clown handler (a clown handler is someone who keeps an eye on the clown and keeps them on target. They also make sure that the clown doesn't get hurt or accidentally hurts anyone else). He's one of the calmest clowns in the statehouse, as not much can cause him to lose his cool. Having said that, when Rat does get upset, he will get very quiet and develop a thousand-yard stare. This side of Rat makes him potentially one of the scariest clowns in the statehouse. While New York will never admit it, he loves clowning and is very fond of Rat. Rat's favorite activities include being around people, playing with animals, and lounging on the couch.

Florida's Clown- Gator

Gator is very similar to Florida, as Florida doesn't have many inhibitions to lose. However, there is one major difference between Gator and Florida, in that Gator can be somewhat controlled. While it takes a very specific person, someone who is direct, assertive, and friendly towards Gator, Gator is willing to listen to his clown handler and stop. Gator has by far caused the most damage, often intentionally breaking things just to see them break. Florida adores Gator, and often wishes that he and Gator could get into trouble together. His favorite activities include hiding behind corners to scare people, cartwheeling down long hallways, and inacting long-winded plans to cause chaos.

Louisiana's Clown- Daiquiri

Like Florida and Gator, Louisiana and Daiquiri are very similar. Daiquiri has somewhat of a calming effect on Gator, though not to the point where a clown handler isn't an absolute necessity. Daiquiri himself is pretty laid-back, usually not worried about anything other than where he can get his next drink. While Daiquiri loves drinking, he can't actually tell what is and isn't alcohol. Giving Daiquiri many glasses of water and telling him it's alcohol is the only known way to get Louisiana sober. Despite this, Louisiana likes letting Daiquiri out as Daiquiri makes friends easily. Daiquiri's favorite activities include drinking, drinking, and more drinking.

(If you want to hear what I think other states's clowns would look like, lmk)

[ecoledetheatreparis]

Exploring the Theatre Schools of Paris

Paris, the cultural heart of France, has long been a beacon for aspiring artists, particularly in the realm of theatre. The city boasts a rich tradition of theatrical excellence, with numerous schools dedicated to nurturing talent and pushing the boundaries of performance arts. These institutions blend rigorous training with a deep appreciation for both classical and contemporary theatre, making Paris an ideal destination for anyone serious about a career on the stage. Consultez leur site pour en savoir plus ecole de theatre paris.

Historical Context

Theatre in Paris has roots that extend back to the Middle Ages, with the city's first permanent theatres established in the 16th and 17th centuries. This historical context provides a fertile ground for theatre education, as students are immersed in a tradition that includes iconic figures such as Molière and Racine. The blend of historical influence and modern innovation creates a unique educational environment.

Notable Institutions

Conservatoire National Supérieur d'Art Dramatique (CNSAD)

One of the most prestigious theatre schools in Paris is the Conservatoire National Supérieur d'Art Dramatique (CNSAD). Founded in 1784, CNSAD has a storied history of producing some of France's most notable actors. The conservatoire offers a comprehensive curriculum that includes acting, voice training, movement, and stage combat, as well as classes on theatre history and dramaturgy. Admission is highly competitive, with auditions that test not only technical skill but also artistic vision and emotional depth.

École Internationale de Théâtre Jacques Lecoq

Another cornerstone of Parisian theatre education is the École Internationale de Théâtre Jacques Lecoq. Known for its emphasis on physical theatre, this school focuses on the body's expressive potential. Founded by Jacques Lecoq in 1956, the school teaches techniques based on mime, mask work, and improvisation. Lecoq’s pedagogy encourages creativity and innovation, helping students develop their unique artistic voices. The school's influence can be seen in the work of numerous successful theatre companies and actors worldwide.

Cours Florent

Cours Florent is renowned for its practical approach to acting. Established in 1967, it offers an array of programs in French and English, making it accessible to international students. The school is known for its dynamic training methods and emphasis on contemporary theatre. Cours Florent alumni include notable actors such as Audrey Tautou and Diane Kruger. The curriculum includes acting classes, workshops, and opportunities to perform in student productions, providing a well-rounded education in the performing arts.

Unique Pedagogical Approaches

Parisian theatre schools are distinguished by their diverse pedagogical approaches. CNSAD offers a classical conservatory experience, emphasizing a rigorous and comprehensive study of acting. In contrast, the École Internationale de Théâtre Jacques Lecoq emphasizes a physical and improvisational approach, encouraging students to explore and expand the boundaries of traditional theatre.

Moreover, many schools incorporate a strong element of practical experience. Students at institutions like Cours Florent and Studio Magenia (specializing in physical and gestural theatre) are frequently involved in public performances, giving them a taste of professional theatre life and allowing them to build their résumés.

Cultural Immersion

Studying theatre in Paris also means immersion in a vibrant cultural landscape. The city is home to numerous theatres, from the historic Comédie-Française to contemporary venues like Théâtre du Châtelet and Théâtre de la Ville. This allows students to regularly attend performances, participate in festivals, and engage with a dynamic community of artists.

Conclusion

Parisian theatre schools offer a unique blend of historical tradition and modern innovation, making them ideal for aspiring actors and theatre professionals. Institutions like CNSAD, École Jacques Lecoq, and Cours Florent provide rigorous training while fostering creativity and individuality. The rich cultural environment of Paris enhances this education, offering students countless opportunities to grow as artists and performers. For those passionate about theatre, studying in Paris is not just an education; it's an experience that shapes and defines their artistic journey.

[tigermike]

1936 Bugatti T57S Atlantic Coupe

The third of four Atlantic coupes built by Jean Bugatti, this one is famously known for having been hit by a train at a railroad crossing in the French countryside in 1955. Much has been written regarding this car's authenticity, and it is true that not every panel is original. Yet before that tragedy this car had experienced a storied and historically important life. Many a race car has been saved from the scrap heap because it had a unique provenance. This car was worth preserving for its unique beauty alone, as well as for the same reasons that any unique historical object is saved: to continue its history, to honor the craft of the original builders, and to illustrate it's story to those who may not already know it.

This car is uniquely different from the other Atlantics as it had been restyled soon after it was built. The evidence indicates that the styling changes had been commissioned by the car's original owners and completed by renowned coachbuilder Joseph Figoni, who had his own singular ideas about flowing surfaces and shape.

The first owners, Jacques and Yvonne Holtzschuch, took delivery of 57473 in 1936. In the earliest known photograph of the car, taken at the Concours d'Elegance de Juan les Pins in 1937, the body was black with a light beige pigskin interior. In the next known photograph, taken in 1951 at the Circuit International de Vitesse de Nice, the body and interior had been significantly restyled. In order to participate in the race, the body had also been repainted blue in accordance with the Code Sportif International de la F.I.A. After changing hands several times, the car was eventually purchased in 1952 by René Chatard, who had it repainted gray near the end of 1954. Chatard and a female companion were driving near Gien, France when they were struck and killed by a train on August 22, 1955.

Paul-André Berson recovered the remains in 1965, and started a decade-long project to rebuild the car. In the restoration he chose to work with the intact right-hand coachwork, and replaced the damaged parts. Upon completion in 1977, he sold the car to collector Nicholas Seydoux, who later had it restored again by André Lecoq. In 2006 the current owner purchased the car from Seydoux, and the unused dashboard, trim pieces, engine block, mechanical parts and original damaged body panels from Berson.

The car was then on display at the Pebble Beach Concours d'Elegance, the perfect environment for the world to rediscover this very special car.

[bellegracejennings]

Quote by Jacques LeCoq “Everything moves. Everything develops and progresses. Everything rebounds and resonates. From one point to another, the line is never straight.” 

[eddie-redmayne-italian-blog]

Fotografia di Pierre-Ange Carlotti @Phenomena Styling di Tobias Frericks Grooming di Petra Sellge Produzione di North Six

Eddie  Redmayne for GQ Italia 

Eddie Redmayne torna, di nuovo, a fare sul serio Dopo avere interpretato per la terza volta il ruolo di "Magizoologo" nel franchise di Animali fantastici, uno tra i più validi attori di Hollywood, nonché premio Oscar, è pronto ad affrontare la scena nei panni di un vero criminale

di Jason McBride

27 ottobre 2022

in English:

Last summer after playing The Good Nurse and before starting rehearsals for the Cabaret revival, winner of the Olivier Awards 2022, Eddie Redmayne back to school at the very specific and renowned academic institute  l'École Internationale de Theatre Jacques Lecoq, more know as the Clown school, to Paris.

Redmayne took a  course in theatre of the absurd for two weeks where he spent the time to improvise and play.The course was very demanding and the instructors were extremely honest and even strict.

Redmayne’s classmates were between 18 and 60 years old and all came from professional acting background. He was the only one who won an Oscar and the only one  to have starred in a billion -dollar film franchise, he felt like an absolute amateur (dilettante). This was the point, he wanted to start all over again to get naked and try to free  himself from all the tics of acting patterns accumulated in twenty years.

We are sitting in a suite hotel in Toronto, two days after his son Luke, 4 years old, finally started attending his school  in london, redmayne is a caring  parent and he wouldn’t  miss Luke’s first day for nothing to world, but soon he had to fly  to World Premiere of The Good Nurse.

Redmayne it’s been at TIFF five times and he said is thrilled to be back as well as to have the opportunity to face this particular chat “ I’ve never released a real interview” he says “ that of talking about  a movie you really believe in, is a rather rare occasion”

In  The Good Nurse, Redmayne plays Charles Cullen a nurse who killed as many as 400 patients during the 1990s and early 2000s  murdered his victims with insulin and other drug mixes. Today he lives in New Jersey  prison where he’s serving  18 consecutive life sentences. Cullen remains the most prolific serial killer in Criminal History.

Redmayne plays him as an affable  person, dressed in the classic cardigan, a nice guy, so to speak, but sequence after sequence emerges  more devil side “

“Charlie had really two opposites personality in him” said redmayne, who know him described him as “dissociated” and when this emerged his eyes went in different  directions, “ I spent about  three days in the mirror trying to” says laughing Redmayne “ in the end thought f.....and made my version”

The Good Nurse couldn’t come at a better time in redmayne’s artistic career, he had just finish playing the third part of FB as Newton Scamander, and he longed to act on a smaller set “ It was really liberating for me” Redmayne sais” After trying my hand at so many epic and impactful films that can certainly be fun and spectacular, but they make you lose touch with the human dimension and the intimacy of the production process of a cinematographic work”

Redmayne was struck by the script, loved it, much more when he learned that he was directing by Tobias Lindholm “ He has an extraordinary moral sense” says Redmayne  and Lindholm , in turn, has found a precious ally  in Eddie.

“ I think making a movie is like  being the manager of a football team” says Tobias “ and Eddie is definitely one of those players you would want in your locker room for sure on the pitch too, but this  qualities in the locker room are second to none””

When Redmayne learned that Jessica Chaistain would play Amy he was very happy, they never worked together. “ It can be embarrassing to work with friends, a workplace is a particular space, it’s different, you can getalong when you are with your family and then you clash at work”

According to Redmayne  he and Jessica have the same approach in the way to preparing their characters. “You have to do  a detective work, as accurately as possible” said Redmayne” “ then you throw everthing away and try to act alongside someone” 

Eddie prepared himself  on Charles Graeber’s 2013 book of the same name, but also from the material he gave him, interviewa, court documents and this mean to study all the Cullen footage in circulation. The Ideal would have been to speak with him, but it was impossible. Redmayne just had a zoom with Amy, who today is a grandmother resident  in Florida. 

Before plaiyng Cullen, Redmayne hired Reynolds ( Choreographer who helped him to  capture every specific detail of Hawking’s physical deterioration) which helped analyze and then impersonate the characteristic, step and posture of the nurse. “ It was kind of a question mark” says the actor  worked alongside a  vocal coach to refine the slight New Jersey accent.

With Jessica Chastain  Eddie attented a nursing school where they spent two weeks learning how ro effortlessly insert the picc line in the vein and hang  the saline bags.” I was just a total clumsy ironic, you would never want to see me running to your rescue in a moment of crises” 

Such a thorough and obviously tiring preparation takes a long time. Not all actors do this. but in case of Redmayne its’s synonymous of seriousness  and also works like as a lifeboat or safety belt. “ Some need a short runway to take off, “ he explains, “ others need a long ramp, I must have a very long one”

In the book Graeber defines Cullen as self -deprecating and vulnerable, this description also fits stragely on Redmayne, the acotr often mentions never having attended  an acting school, and tends to describe entire career as a kind o happy accident. “ I don’t have specific plan” he says “ I’m just inprovising”

In fact, his words might even sound like a strange form of boasting.  Redmayne started, so to speak, from the top when he was only 11 years old, thanks to a small role in an Oliver production  portrayed by Jonathan Pryce and directed by Sam Mendes, Then, while still at Eton, he played Viola in a Globe anniversary production of Twelfth Night, starring and directed by Mark Rylance.  His first best-known film roles were Hawking and, a year later, transgender artist Lili Elbe in the film The Danish Girl which earned him, at the age of 30, several nominations for the most prestigious awards.  The Theory of Everything, for example, also earned him a BAFTA and a Golden Globe till to win the Oscar.  After these two films he seemed well on his way to becoming the answer of his generation of Daniel Day Lewis Ralph Fiennes

Participation in the 2016 film Fantastic Beasts and Where to Find Them has in a sense moved him away from that path. Suddenly, Eddie Redmayne found himself in the Harry Potter franchise, a high-budget production with big special effects, with big star like Jude Law, Johnny Depp and Mads Mikkelsen. What kind of preparation is needed to deal more deeply with the role of a Magizoologist? It is not possible to register for a crash course at Hogwarts. Redmayne does not express himself in these terms, of course. When he talks about the Harry Potter spin-off film series, he’s very accommodating and generous. "The moment I accepted to enter that type of universe," he says, "I knew I was ending up inside a mechanism much larger than me. He has given me so much and I have loved acting alongside some of the best and brightest actors in the world. The possibility of continuing to work with them every two years, in an industry that is nomadic and circus, has been an extraordinary experience of continuity ». An undoubted advantage on the human level he says, not necessarily at the level of acting. It has been a fun journey, but perhaps not the ideal place to continue learning. "The thing I'm sure of is that comfort and I don't get along very well," says Redmayne. "So I always try to go beyond the boundaries of my comfort zone." Fantastic Beasts has also been plagued by some controversy of an extracurricular nature: the scandalous views of J.K. Rowling on gender identity, Depp's libel case, the recent arrests of Ezra Miller and a drop in box office results. While Redmayne doesn't want to talk about all of that, the decision to focus on more intimate films like The Good Nurse is the best answer.

During our conversation , Redmayne reflected on his own creative ambiguity, his "cynicism" and "pessimism". When I ask him where this way of feeling comes from, he’s careful not to attribute it to any particular project, but he struggles to identify its true source. "Acting is a strange mix of control and freedom," he specifies, choosing his words. “When you start making a movie, you lose a bit the control . You become a cog. You can work on the script for years, but there comes a time when you have to give up on yourself and that's a complex thing, you know? At best, you do this with someone you trust and it makes you feel completely free. But it doesn't always work like that ».

If Redmayne has always worked hard, he has also, by his own admission, worked little. Now, thanks to Cabaret and The Good Nurse, he probably expects to work even less. "This year has served to make me more demanding," he says, bursting out laughing again. Unlike most artists, he doesn't really know what he'll be up to in the future. However, after finally working with a friend, he would like to do it again. Perhaps with one of his longtime British colleagues, such as Ben Whishaw and Andrew Garfield. Maybe with his Cabaret co-star Jessie Buckley. Or, dare, even in a comedy, the kind of film in which it might come in handy to have attended clown school. «I gave myself a move», he concludes, «and I rediscovered the love for my work that perhaps I had lost a bit».

https://www.gqitalia.it/show/article/eddie-redmayne-intervista

[top10actingschoolsintheworld]

Top 10 Acting Schools in the World 

Unveiling the Path to Stardom

Top 10 Acting Schools in the World  Amusement is a craft that requires fidelity, skill, and proper training. The world of cinema and theater constantly demands exceptional gift, and the trip to getting a successful actor frequently begins with the righteducation.However, choosing the right academy is pivotal, If you are aspiring to pursue a career in acting. In this blog, we'll explore the top 10 acting seminaries in the world, famed for their commitment to nurturing the stars of hereafter.

The Juilliard School- New York, USA Located in the heart of Manhattan, The Juilliard School is encyclopedically accredited for its rigorous training programs and world- class faculty. It offers Bachelor and Master of Fine Arts( MFA) degrees in drama, helping scholars hone their amusement chops through a comprehensive class.

Royal Academy of Dramatic Art( RADA)- London, UK Top 10 acting schools in the world innovated in 1904, RADA has a rich history and an recognized alumni list, including Sir Anthony Hopkins and Ralph Fiennes. RADA offers a variety of programs, from undergraduate to postgraduate degrees, fastening on classical and contemporary theater.

London Academy of Music and Dramatic Art( LAMDA)- London, UK LAMDA, another prestigious drama academy in London, has been a parentage ground for talented actors for over 150 times. Its programs include acting, directing, and stage operation, with a strong emphasis on practical training.

Tisch School of the trades, New York University( NYU)- New York, USA NYU's Tisch School of the trades is famed for its slice- edge approach to acting education. The Lee Strasberg Theatre & Film Institute, located within Tisch, offers programs that blend the Stanislavski system with ultramodern ways.

National Institute of Dramatic Art( NIDA)- Sydney, Australia NIDA is Australia's commanding drama academy, known for its strong commitment to both classical and contemporary amusement. The academy offers a Bachelorette of Fine trades in Amusement and other technical programs.

Central Academy of Drama( CAD)- Beijing, China For those interested in Asian theater and film, CAD in Beijing is a top choice. It boasts a strong class covering traditional Chinese theater along with contemporary amusement ways.

Yale School of Drama- New Haven, USA Yale School of Drama is famed for its MFA program in acting, where scholars admit an immersive and ferocious training experience. It has a rich history and has produced multitudinous award- winning actors.

Stella Adler Studio of Amusement- New York, USA Stella Adler was a colonist in the field of acting, and her plant in New York continues her heritage. The academy offers a glasshouse - style program concentrated on the Stanislavski system and has a character for producing protean actors.

École Internationale de Théâtre Jacques Lecoq- Paris, France For those seeking physical theater and mimic training, Lecoq in Paris is the place to be. It offers a unique approach to acting, emphasizing the use of the body and movement in liar.

American Conservatory Theater( ACT)- San Francisco, USA ACT in San Francisco offers a Master of Fine trades program in acting, Eiffel emphasizing a holistic approach to training. It combines classical theater ways with contemporary amusement styles.

[carmenvicinanza]

Lucia Calamaro

https://www.unadonnalgiorno.it/lucia-calamaro/

C’è un grande bisogno di nuova drammaturgia italiana e servono testi corposi. Per un lungo periodo, dagli anni Novanta fino a dieci anni fa, la drammaturgia contemporanea italiana è stata considerata alla stregua di qualcosa di ermetico e incomprensibile dal largo pubblico. Non è accettabile che il contemporaneo sia necessariamente sperimentale, il teatro è presente al presente e per questo può raccontarlo.

Lucia Calamaro drammaturga, regista e attrice che ha vissuto e si è formata in giro nel mondo.

Nata a Roma l’8 giugno 1969, a tredici anni si è trasferita a Montevideo per seguire il padre diplomatico.

Laureata in Arte e Estetica alla Sorbonne di Parigi, è stata allieva dell’attore, mimo e pedagogo francese Jacques Lecoq.

Ha partecipato, nel 1998, alla creazione della nuova disciplina Ethnoscénologie (studio comparativo di spettacoli in vivo).

Nel 2002 si è trasferita a Roma per una borsa di specializzazione in Drammaturgia Antica e Versificazione.

L’anno seguente ha fondato Malebolge, compagnia teatrale completamente auto-prodotta con cui ha dato corpo alla propria scrittura scenica, allestendo diversi spettacoli che provava in spazi occupati della città.

La grande visibilità è arrivata nel 2011 con L’origine del mondo, ritratto di un interno con cui ha vinto tre Premi UBU e il Premio Enriquez per regia e drammaturgia, che è andato in onda su Rai Radio 3.

Nello stesso anno ha pubblicato il libro Il ritorno della Madre.

Dal 2014 insegna drammaturgia alla Civica Scuola di Teatro Paolo Grassi di Milano.

È stata finalista ai premi Ubu come miglior testo nel 2016 con La vita ferma e nel 2018 con Si nota all’imbrunire. Nel 2019 ha vinto il Premio Hystrio alla drammaturgia.

È stata Presidente di giuria del Premio Riccione per il Teatro nel 2021.

Ha creato e dirige la scuola itinerante di drammaturgia Scritture, promossa da vari enti teatrali, per creare una scuderia di nuovi autori e autrici.

La sua colta scrittura teatrale, che spazia dalla psicanalisi al postmoderno, ha un’impronta veloce, contemporanea, mai compiaciuta che abbraccia ritmi e temi del presente.

Compone una cartografia umana di traumi, angosce, nevrosi che raccontano attraverso i personaggi, con una scrittura teatrale netta e mai compiaciuta, un sentimento universale dello stare al mondo.

La cifra che caratterizza i suoi personaggi è l’ironia. Prova, costantemente, a sorridere un po’ del mondo e di chi si prende terribilmente sul serio. A infilarsi in una fessura per non prendere la vita di petto ma affrontarla obliquamente per non uscirne schiacciata.

Lucia Calamaro è una delle poche artiste i cui spettacoli riescono a trovare spazio nei cartelloni teatrali in un paese, come l’Italia, dove il contemporaneo stenta a essere rappresentato e la drammaturgia femminile ancor meno.

Scrivere per me è cadere dentro le cose, prenderne atto, avvicinarmi alla questione quale è, anche se sfugge, si sposta, appare inafferrabile. Per capire il mondo devo reinterpretare la realtà, creare strumenti di comprensione dentro un tempo delle idee che non è quello del reale e della materia.

[scotianostra]

The Scottish actor Alex McAvoy died on June 16th 2005.

Most famous for two roles, Sunny Jim in the original Para Handy tales of The Vital Spark, through the 60’s and the teacher in Pink Floyds, The Wall, McAvoy was much more than a two horse trick! the two roles you might know him from.

Throughout his career he was a stalwart of Scottish theatre, especially pantos, starring at the top theatres in Edinburgh and Glasgow. He was also a master of mime.

In the earlier part of his career, McAvoy ventured into the world of variety and light entertainment, and was the first foil to the kilted Scottish comedy singer Andy Stewart.

The summer show promoter George B Bowie envisaged him as a future star comedian, and headlined him in the holiday-season revue of 1963 at the Barrfields Pavilion, Largs. But despite success in that field, he was not cut out to be a Scotland-based funny man; a wider field, especially in mime, beckoned.

As a schoolboy growing up in Scotstounhill, Glasgow, second eldest of a family of eight, McAvoy was always an artistic lad, creating small puppets out of colourful old clothes and running his own mini-puppet theatre. He also loved to act.

The wee boy who just had to become an actor enhanced his love of the arts by enrolling for classes at the School of Art in Glasgow’s Renfrew Street; his first job was in the big fashion stores of the city, increasing the profits of the owners by dressing their windows with all the delicate artistry at his command. Young McAvoy had a flair for the arts, even in the sterner world of retail commerce.

Inevitably, in the fabulous 1950s, when Glasgow was seeing a new interest in the dramatic arts, he just had to join other aspiring thespians at the Royal Scottish Academy of Music and Drama in Glasgow’s Athenaeum building. The burgeoning Citizens’ Theatre in the Gorbals needed trained actors, which is why young McAvoy found himself alongside such future performers as John Cairney and (set to be a gem of television presenters) Mary Marquis. He had the built-in creative sense but he needed the basic study and training. Live theatre, especially in so vibrant a nursery as the Citizens’, then housed in the old Princess Theatre building, was to hone the talents of the lad from Scotstounhill.

Just look at his credits. Small parts and big parts, character roles in Z Cars and Dad’s Army, and meaty parts in Sunday night dramas. Old lags or angry army sergeants, McAvoy could transform each role into something truly realistic. He was also a performer in musicals, some of you might remember the original TV movie for Joseph and the Amazing Technicolor Dreamcoat in 1972, before the 80’s revival, McAvoy starred as Joseph’s father Jacob in that, a role I know myself having appeared in my school production in 1978 as Jacobs youngest son, Benjamin. Other notable appearances include The Bill, Minder and the Peter Capaldi film, Strictly Sinatra alongside such Scottish stalwarts as Una McLean, Brian Cox, Iain Cuthbertson, Tommy Flanagan and Kelly McDonald.

Not everybody knows that McAvoy’s role as the Teacher made him a familiar face from Pink Floyd’s The Wall, the 1982 global cult film with Bob Geldof as a burned-out rock star. It spawned thousands of items of memorabilia, and McAvoy’s animated character in the college cap was seen on t-shirts around the world, introducing him to millions.

His love of mime was intense, and he made a mark, naturally, in the busy world of Scottish pantomime, with featured roles at the King’s theatres in Glasgow and Edinburgh. The mime in pantomime had strong appeal. One day, borrowing from his actress friend Mary Marquis a French vocabulary and phrase book, he crossed the Channel to Paris to study and work in L'Ecole de Jacques LeCoq. It had been his secret ambition to go there for some years.

LeCoq was his idol, and friends at the school say his miming skill was such that he could make anyone know what he was saying without words. He became deeply immersed in the international world of mime and right up to his death was still in touch with that famous school.

McAvoy had been ill from leukaemia for some years, but retained his link with live theatre and, before being hospitalised, had taken on a cameo part on the London stage. He was a sensitive man of the arts to the end. He died on 16 June, 2005, in London, aged 77.