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jerald head sent you a JibJab eCard!
by JibJab 24 Feb '14

24 Feb '14

Greetings! jerald head sent you this JibJab eCard: http://www.jibjab.com/view/4GMTko73XMNaJxRikMKH Visit JibJab to make and share 1,500+ eCards! http://www.jibjab.com/ ------------------- If you would rather not receive these emails in the future, you can opt out by clicking this link: http://www.jibjab.com/user/block?email=winedale-l%40lists.wikimedia.org To view JibJab's privacy policy or for questions, visit http://sendables.jibjab.com/ and click the link at the bottom of the page. JibJab Media Inc. | PO Box 5356 | Santa Monica, CA 90405 ========== JibJab and Starring You! are registered trademarks of JibJab Media Inc.

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Happy Birthday Alice
by James Ayres 21 Feb '14

21 Feb '14

Tomorrow is Alice's birthday! Happy birthday Alice! JoAnn and I send our best wishes to you and hope that some of our NY groupies take you out for a pizza. Cheers, Doc

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Winedalers in the news, cont.
by Clayton Stromberger 18 Feb '14

18 Feb '14

Happened to be sitting in Dobie Mall food court this afternoon near the TV (which is usually some bad sci-fi channel) when I looked up to see John Rando talking about his new Acting Company production of "Rosencrantz and Guildenstern Are Dead." Here's the tour schedule -- they're in New York right now, not coming to Texas, unfortunately. Congrats John! http://theactingcompany.org/on-tour/ cs

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email clarification
by Jenny Jackson-Paton 10 Feb '14

10 Feb '14

Jenny Jackson-Paton ('74)is at jackaranda17(a)gmail.com

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Re: [Winedale-l] NY magazine
by Alice Gordon 08 Feb '14

08 Feb '14

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NY magazine
by Jerald Head 08 Feb '14

08 Feb '14

Congratulations "Stop Hitting Yourself" scored a "Brilliant" on the NY Magazine's Approval Matrix. Why do I dream about being on stage with the queso fountain? Jerald Sent from my iPhone

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Yoga under the pecan trees
by Claire Szabo-Cassella 05 Feb '14

05 Feb '14

Thanks Doc. I remember those stretching sessions - and the massage lessons and the laughter - on those dusty tarps, clear as a bell. I consider them my first yoga classes. For other Winedale yogis out there, the article will be available on-line via the Australian Yoga Life website in a month or so, once it becomes a "past article." I'll happily post the link when the time comes. Namaste, Claire Claire Szabo-Cassella, E-RYT Hot Yoga of New Zealand Teacher Training & Studio Development WELLINGTON e hotyoganz(a)icloud.com w www.hotyoganz.com m +1 828 989 2207 (USA 2014) m +64 469 9642 (NZ 2015) On Feb 5, 2014, at 4:01 AM, winedale-l-request(a)lists.wikimedia.org wrote: > Send Winedale-l mailing list submissions to > winedale-l(a)lists.wikimedia.org > > To subscribe or unsubscribe via the World Wide Web, visit > https://lists.wikimedia.org/mailman/listinfo/winedale-l > or, via email, send a message with subject or body 'help' to > winedale-l-request(a)lists.wikimedia.org > > You can reach the person managing the list at > winedale-l-owner(a)lists.wikimedia.org > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Winedale-l digest..." > > > Today's Topics: > > 1. Re: ‘Peter Brook: The Tightrope’ Follows the Theater > Director - NYTimes.com (Alice Gordon) > 2. Yoga Shakespeare (James Ayres) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Tue, 4 Feb 2014 11:03:37 -0500 > From: Alice Gordon <alicegordon(a)earthlink.net> > To: "Barker, Michael" <Michael_Barker(a)spe.sony.com> > Cc: "'winedale-l(a)lists.wikimedia.org'" > <winedale-l(a)lists.wikimedia.org> > Subject: Re: [Winedale-l] ‘Peter Brook: The Tightrope’ Follows the > Theater Director - NYTimes.com > Message-ID: <C26DD996-8BEE-4A25-8446-BA4526BDDF78(a)earthlink.net> > Content-Type: text/plain; charset="windows-1252" > > Thank you both. I'm seeing it tomorrow, I hope! > On Feb 4, 2014, at 8:55 AM, Barker, Michael wrote: > >> I saw it. The film is fantastic, exactly as described here. >> Clayton, thanks for sending this out. >> m >> >> From: Clayton Stromberger [mailto:cstromberger@austin.utexas.edu] >> Sent: Tuesday, February 04, 2014 08:25 AM >> To: winedale-l(a)lists.wikimedia.org 1970-2000 alums <winedale-l(a)lists.wikimedia.org> >> Subject: [Winedale-l] ‘Peter Brook: The Tightrope’ Follows the Theater Director - NYTimes.com >> >> >> >> http://www.nytimes.com/2014/01/31/movies/peter-brook-the-tightrope-follows-… >> >> ‘Peter Brook: The Tightrope’ Follows the Theater Director >> >> >> Acting students go through exercises with Peter Brook, center, in “Peter Brook: The Tightrope,” which was filmed using five hidden cameras. First Run Features >> “The actor’s gift,” according to the director and theatrical sage Peter Brook, “is the connection between pure imagination and the body itself.” For him, the technique of acting is at once physical and metaphysical, a discipline of the face, limbs, voice and spirit. “Peter Brook: The Tightrope,” a concise new documentary directed by Simon Brook, offers a rare glimpse behind the scenes as its subject (who happens to be the filmmaker’s father) instructs a group of actors in the rigor and simplicity of his method. >> >> Wearing a bright orange shirt and holding forth in an accent that bespeaks breeding and education, Mr. Brook, edging toward 90, seems at first to be a gentle, grandfatherly teacher. He invites his pupils — of various shapes, sizes and backgrounds, speaking at least four languages — to undertake what looks like a fairly elementary, mechanical exercise. They are to walk across a large Persian carpet as if along a tightrope, maintaining balance and trying out whatever tricks or stunts strike their fancy. The most important requirement is that they convey a sense of reality, as if they were genuinely suspended in the air, their feet hugging a thin cord. After a while, it becomes clear that the tightrope is also a metaphor, standing for the existential risk inherent in every serious instance of playing. >> >> As Mr. Brook’s criticisms — never unfriendly, always candid — make clear, what the tightrope walkers are really doing is, well, everything: conveying emotion, telling a story, inhabiting a situation that demands limitless, almost impossible focus. And, of course, that’s only the beginning. Accompanied by music (including snatches of “The Magic Flute”) and supplied with rudimentary props (bamboo reeds, a few chairs, a book of matches), they explore short scenes and improvisations, always encouraged to find the concentration and imaginative daring of the initial high-wire acts. >> >> At the beginning of the film, Mr. Brook explains that he usually refuses the request of those who want to watch his rehearsals: What could be more bothersome than a fly on the wall? Simon Brook used five hidden cameras, and the audience has a sense of witnessing intimate moments rather than watching a performance. >> >> Peter Brook’s productions of Shakespeare in the ’50s and ’60s are legendary. His subsequent work — “Marat/Sade” and “The Mahabharata,” in particular — occupies a central place in the history of modern theater and represents a standing challenge to the psychological realism and social didacticism that have dominated the art form in Britain and America. His interest has always been in the ritual roots and mythical resonances of the theater, and the idea of acting he articulates in “The Tightrope” has a primal, even mystical tenor. He speaks of access to a collective brain, of grasping the essence of time and of the ways the theater can offer a heightened experience of life. >> >> At times, the faces of the actors under his command register confusion and frustration. Mr. Brook’s words can flow almost effortlessly from plain practicality — stand here; walk that way; start again — to dizzying abstraction. His presence is both calm and intense, and, like all the best teachers, he offers lessons that can hardly be absorbed, much less applied, all at once. You envy his disciples, even as you may also feel a twinge of sympathy when their sincere best efforts fall short. >> >> At some point, though, perhaps many years after the encounter recorded here, they will peek down at the chasm under their feet and find themselves possessed of the agility and imagination to keep going. >> >> >> _______________________________________________ >> Winedale-l mailing list >> Winedale-l(a)lists.wikimedia.org >> https://lists.wikimedia.org/mailman/listinfo/winedale-l > >

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Yoga Shakespeare
by James Ayres 05 Feb '14

05 Feb '14

Claire Szabo ('85-87), founder of Hot Yoga in New Zealand, has an interesting article in Australian Yoga Life Magazine, "Shakespeare on the Mat," using lines from the plays to illuminate the values of the yoga experience. She sent me a copy. Claire: is it available on- line? Good work here. Made me think about the two-a-day stretches (when we could do that) under the pecan trees in the early years. Thanks, Claire

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‘Peter Brook: The Tightrope’ Follows the Theater Director - NYTimes.com
by Clayton Stromberger 04 Feb '14

04 Feb '14

http://www.nytimes.com/2014/01/31/movies/peter-brook-the-tightrope-follows-… ‘Peter Brook: The Tightrope’ Follows the Theater Director [http://static01.nyt.com/images/2014/01/31/arts/31PETER_SPAN/PETER-master675…] Acting students go through exercises with Peter Brook, center, in “Peter Brook: The Tightrope,” which was filmed using five hidden cameras. First Run Features “The actor’s gift,” according to the director and theatrical sage Peter Brook<http://www.bam.org/artists/peter-brook>, “is the connection between pure imagination and the body itself.” For him, the technique of acting is at once physical and metaphysical, a discipline of the face, limbs, voice and spirit. “Peter Brook: The Tightrope,”<http://movies.nytimes.com/movie/472786/Peter-Brook-The-Tightrope-Movie-/ove…> a concise new documentary directed by Simon Brook, offers a rare glimpse behind the scenes as its subject (who happens to be the filmmaker’s father) instructs a group of actors in the rigor and simplicity of his method. Wearing a bright orange shirt and holding forth in an accent that bespeaks breeding and education, Mr. Brook, edging toward 90, seems at first to be a gentle, grandfatherly teacher. He invites his pupils — of various shapes, sizes and backgrounds, speaking at least four languages — to undertake what looks like a fairly elementary, mechanical exercise. They are to walk across a large Persian carpet as if along a tightrope, maintaining balance and trying out whatever tricks or stunts strike their fancy. The most important requirement is that they convey a sense of reality, as if they were genuinely suspended in the air, their feet hugging a thin cord. After a while, it becomes clear that the tightrope is also a metaphor, standing for the existential risk inherent in every serious instance of playing. As Mr. Brook’s criticisms — never unfriendly, always candid — make clear, what the tightrope walkers are really doing is, well, everything: conveying emotion, telling a story, inhabiting a situation that demands limitless, almost impossible focus. And, of course, that’s only the beginning. Accompanied by music (including snatches of “The Magic Flute”<http://movies.nytimes.com/gst/movies/titlelist.html?v_idlist=64396;177684;3…>) and supplied with rudimentary props (bamboo reeds, a few chairs, a book of matches), they explore short scenes and improvisations, always encouraged to find the concentration and imaginative daring of the initial high-wire acts. At the beginning of the film, Mr. Brook explains that he usually refuses the request of those who want to watch his rehearsals: What could be more bothersome than a fly on the wall? Simon Brook used five hidden cameras, and the audience has a sense of witnessing intimate moments rather than watching a performance. Peter Brook’s productions of Shakespeare in the ’50s and ’60s are legendary. His subsequent work — “Marat/Sade” and “The Mahabharata,”<http://www.nytimes.com/1985/08/25/arts/peter-brook-transforms-an-indian-epi…> in particular — occupies a central place in the history of modern theater and represents a standing challenge to the psychological realism and social didacticism that have dominated the art form in Britain and America. His interest has always been in the ritual roots and mythical resonances of the theater, and the idea of acting he articulates in “The Tightrope” has a primal, even mystical tenor. He speaks of access to a collective brain, of grasping the essence of time and of the ways the theater can offer a heightened experience of life. At times, the faces of the actors under his command register confusion and frustration. Mr. Brook’s words can flow almost effortlessly from plain practicality — stand here; walk that way; start again — to dizzying abstraction. His presence is both calm and intense, and, like all the best teachers, he offers lessons that can hardly be absorbed, much less applied, all at once. You envy his disciples, even as you may also feel a twinge of sympathy when their sincere best efforts fall short. At some point, though, perhaps many years after the encounter recorded here, they will peek down at the chasm under their feet and find themselves possessed of the agility and imagination to keep going.

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Clarification on email confirmation/updates -- please put the email address you want me to use in the body of the email or in the subject header
by Mike Godwin 02 Feb '14

02 Feb '14

That makes it clearer what needs to be corrected/updated. Most of you have done this, but some of you haven't. Thanks, --Mike

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