This Summer, Get Thee To London For The RSC’s Henry IV — The Daily Beast

17 Май 2015 | Author: | No comments yet »
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This Summer, Get Thee To For The RSC’s Henry IV

As the British marks Shakespeare’s 450th visitors and locals alike the chance to enjoy a marathon of Henry IV and a once-in-a lifetime show.


The sun sparkles on the river at and I’m halfway through a seven-hour marathon. Not running, that is, but a rare double-bill performance of IV, Parts 1 and 2 from the Royal Company. As the Bard’s birthplace, attracts nearly 5 million a year from around the and is on the itinerary of most American It’s a beautiful town from the odd twee Anne Ye Olde Coffee Shoppe—surprisingly by the tourist industry.

One of Shakespeare’s popular history plays, IV chronicles the uneasy succession of Henry IV to the throne following the of Richard II, and the rebellions within the on the borders of Scotland and Wales. The also follows the bawdy of Henry’s delinquent son and heir, the Prince of Wales, his friendship the dissolute semi-alcoholic old Falstaff, and reform, and succession to the throne.

I’m there to review the play for the Saturday Review. a weekly discussion programme on Radio 4. by Gregory Doran, and starring his Antony Sher as Falstaff, is a vivid, absorbing production has received rave reviews. steals the show as Falstaff, of but there are also more moments and plenty of food for “What is honour? a word. is in that word honour? is that honour? air. A reckoning! Who hath it? he that o’ Wednesday. Doth he feel it? no. he hear it? no.”

Still pondering the nature of the next destination on my cultural is Tate Modern on London’s The Tate is a stone’s throw Shakespeare’s Globe Theatre, and I’m to see a new exhibition of Henri Matisse: The . The exhibition gathers around 130 works, brought together for the time in decades. It’s a joy.

The so-called “cut-outs” are the chapter in an artistic career spanned over 50 years. (1869–1954) called it “cutting into colour” and the process is as fascinating as the results. What as a method of trying out arrangements of for his paintings became a new art form in his assistants prepared painted of paper in the famous primary the vibrant reds, blues and cutting out became a way of drawing and at the same time. Matisse “The contour of the figure from the discovery of the scissors give it the movement of circulating

Sher steals the show as of course, but there are also serious, moments and plenty of for thought.

Matisse turned to artistic method late in his when his increasing ill health and mobility in the 1940s prevented him painting. Flickering film shows the artist as a stout old confined to a wheelchair, wielding the and cutting freehand into the paper, as twisting forms

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While the cutting-out process was quick, the placement and shuffling and re-placement took much was often endless. (Later of the paper shapes has shown of tiny pinpricks, indicating how times Matisse re-arranged the around on his studio walls.) In such as “Oceania,” featuring birds, fish, coral and the walls of his apartment became the itself.

I arrive at Tate Modern thing in the morning, and already the view is thronged: art critics, and camera crews from all the world. Tahitian influences on are well-known, but these late display wider influences, Islamic tessellated shapes, to dancing and jazz culture. is an added poignancy to the “graceful of the acrobats, dancers, mermaids and swallows Matisse so loved, you consider his own physical decline.

the room of Blue Nudes stop me in my tracks: For the first I feel a wave of art gallery Matisse created the four Nudes in 1952, one of the most periods of his career, and they rarely been shown Each work features a blue silhouette of a seated figure against a white each with one leg crossed the other, arching an arm above her Despite these simple and colours, and the sometimes jagged out,the overall effect is one of grace and dynamism. What me is just how modern the form one could forget that was pioneering this method as as the 1940s, well before pop minimalism or post-modernism.

Like the RSC’s production of IV . the Matisse exhibition has opened to acclaim, with the Spectator it “a show of true magnificence”; the Times, “visually stunning and gripping”; and the Guardian, “the of a lifetime.” To find myself up the Matisse catalogue at home evening seemed entirely hallway is now adorned with his blue and red dancers.

Critics predict that will be one of the most popular ever staged in London: it here until September before transferring to New York’s of Modern Art until February If you can’t wait that or you need an excuse to visit the Shakespeare and Matisse are a great to cross the pond this

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