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#yael farber
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terranoctis · 22 days
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The Tragedy of Macbeth (2021), directed by Yaël Farber
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finelythreadedsky · 3 months
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greek tragedy is like. if you put on clothes you are doomed. if you take off clothes you are doomed. good luck.
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clarasteam · 2 years
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James McArdle dancing: Angels in America (directed by Marianne Elliott, National Theatre, 2017) and Macbeth (directed by Yael Farber, Almeida, 2021)
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hegodamask · 2 years
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BANKS - Skinnydipped (2021, dir. BANKS)   The Tragedy of Macbeth (2021, dir. Yaël Farber)
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meandrichard · 3 years
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This is annoying
On the whole I don’t spend much time either fancasting, trying to figure out which roles Richard Armitage is up for, or mourning the ones he doesn’t get (particularly as I usually don’t know anyway). This bugs me, though, even though I don’t see how I could get to England this fall and I’m not sure I’ve got the money in place. https://twitter.com/AlmeidaTheatre/status/1395666660510650368 We know…
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shakespearenews · 4 years
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Why have so many women clamored to play an indecisive, often rage-filled young man? “It’s the best part in drama,” said Tony Howard, an English professor at the University of Warwick and author of “Women as Hamlet: Performance and Interpretation in Theater, Film and Fiction.” “And as actresses have become more and more powerful in their own right, it’s become obvious that they should play that part...
Negga’s denials to the contrary, Howard believes that playing Ophelia before tackling Hamlet can only help. “By the time actresses have reached the point of playing Hamlet, they’ve probably played Ophelia already,” he noted. “So they know more about the play than male actors do. They’ve experienced those scenes, which are so full of anger and passion and horrible rage, from both sides.”
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pollyssecretlibrary · 7 years
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Three years and still not over it.
The Crucible, by Arthur Miller Directed by Yael Farber, with Richard Armitage in the role of John Proctor
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ghostantine · 7 years
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Miller Gilbert Horn [Matt Ryan] - KNIVES IN HENS
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emergefromthenoise · 7 years
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Knives in Hens in Donmar Warehouse. Review
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Play by David Harrower. Directed by Yaël Farber. Cast: Judith Roddy, Christian Cooke, Matt Ryan.
Somewhere in the village. In the time before industrial boom and technological progress. A ploughman and his wife live a simple life. Meeting with hated local miller changes everything. The game, the awakening begins. Lust, desire, attraction, power, knowledge and understanding things and their world dominates their relations. Driven through darkness under the shadow of the grinding stone they leap headfirst into darkness... or maybe into the light? Questioning everything they discover and try to name what has been unnamed.
‘Knives in Hens’ is odd. Not your typical play - neither modern, nor Shakespeare’s alike. It’s out of time yet extremely present. It’s magical. Mesmerizing. Surprising. Tension is tangible. And actors are on top of their game: mad, frantic, deliver most fascinating performance. Characters they play are torn by feelings and sensations they taste the new ground, tease, bend and cross the boundaries in this dark, gloomy world showing that some desires are with humans for ever and are the primal drive for many [unexpected] turns.
The chemistry between three actors is electric, it sparkles, explodes. Danger, light and darkness are bound together with an excellent performance.
[photo: Donmar Warehouse]
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clematis70 · 7 years
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Richard is back! And with a (perfect) quote from Oedipus Rex... (x)
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Happy World Theatre Day!!! 🎭
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theaterpizzazzstuff · 5 years
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Review by Joseph Pisano: Mies Julie in repertory with Dance of Death at Classic Stage Company wtih Elise Kibler, James Odom . . .
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finelythreadedsky · 4 months
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THANK YOU SO MUCH!! Also id love to ask it you have any play “retellings” of the Oresteia that you’d reccomend? I’m hoping to read girl on the altar as well
ooh i watched a livestreamed reading of girl on an altar a few years ago and it was amazing!!! i've been meaning to get a copy of the script. robert icke's oresteia and yael farber's molora are two other great plays i've read that rework the oresteia (with very different takes)
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politickworms · 7 years
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Salome
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21 June 2017, Olivier Theatre
I saw Yael Farber’s version of the Bible story on the third day of the heatwave- the friend I was going with had got a bit muddled with tickets, and I thought in the morning that I wouldn’t have to go into town and honestly wasn’t too upset about it. Luckily, the air conditioning at the National and the vision of the production saved me.
I knew the reviews had been pretty dodgy for Salome, and along with Common had prompted some “CRISIS IN THE OLIVIER SUMMER 2K17″ articles from brilliant minds like Matt Trueman (shade fully intended). Everything else I’ve heard about Yael Farber has been almost exclusively brilliant though, and I think Salome had good reviews in the US? I sort of settled in going “well, it’s 1h45 straight through and at least I get to have an informed opinion about it now- if it is terrible, I can say that with the authority of having seen it.”
In the end, it sort of blew my mind a little bit. I’ve always been massively susceptible to music in any context, and Salome is underscored pretty much throughout, so that was an easy way to create atmosphere that worked on me. The design of the thing is epic and intimate too; Farber uses sand and scarves to create a sort of backdrop at points, and the revolve is almost constantly on the move, so that there are stationary scenes taking place with tableaux of the other characters moving round at the same time. I’d be quite interested in reading the text again, which I think is Yael Farber’s own adaptation. Some critics dismissed it as “portentous”, although suggesting you’re confused by the line “I am peace and war has come because of me” because you don’t know whether you’re meant to be holding on to the peace or war aspect of the statement is pretty dumb (looking at you, Billington). 
There are some interesting tensions in the piece, too; a post-show chat had us discussing whether it’s empowering to reclaim the story in a way that centralises Salome, but denies her speech for probably 75% of the show? Farber uses a framing device of an older Salome who narrates from beyond the grave, or from the point of her death as she looks back on the events, so she’s speaking, but in this pretty cryptic, constantly juxtaposed language. For me, this language fit so well with the pace and reverence of the production that I didn’t really question it. There is a debate about where power lies in this story; Salome is physically abused by her stepfather, and gains the ability to ask for Iokanaan’s head because of the dance she performs, where Herod asks her to “take us beyond words”. Yet it’s that simple request that casts her as the “mother of the revolution”, and it’s clear that Iokanaan is so dangerous because of the power of his preaching. There are things to be said about embodied female power too, and where misogyny lies in previous tellings of the story, and in this one.
I might come back to this- I haven’t talked about the cast at all (Isabella Nefar (Salome so-called) and Ramzi Choukair (Iokanaan) are fiercely committed and really quite brilliant physically, emotionally, all of it), and I reckon thinking further about it would probably reveal more problems than I’m seeing right now. I came in really unsure of what to expect though, and was quite emotional at the end, because I found the whole thing so powerful. It’s on until the 15th July I think, and there were plenty of empty seats when I went so tickets to be had! I would definitely recommend giving it a go- I got a lot out of it, as the length of this post indicates.
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meandrichard · 5 years
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Armitage and Farber mark Michael Thomas' passing
Armitage and Farber mark Michael Thomas’ passing
With love and respect for a gentle soul and a lovely man. Our thoughts are with his family. Rest In Peace Michael. https://t.co/cTjck6knF5
— Richard Armitage (@RCArmitage) March 11, 2019
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For more context, see my previous post.
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