Theatre play – Theatre UAF http://theatreuaf.org/ Sun, 21 Nov 2021 07:17:08 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://theatreuaf.org/wp-content/uploads/2021/10/icon-18-120x120.png Theatre play – Theatre UAF http://theatreuaf.org/ 32 32 National theater play ‘Ayiyii’ showcases Ghana’s rich culture https://theatreuaf.org/national-theater-play-ayiyii-showcases-ghanas-rich-culture/ https://theatreuaf.org/national-theater-play-ayiyii-showcases-ghanas-rich-culture/#respond Wed, 10 Nov 2021 17:48:54 +0000 https://theatreuaf.org/national-theater-play-ayiyii-showcases-ghanas-rich-culture/ It is said that the culture of a people identifies them and the patrons who attended the public screening of the last play of the National Theater. Ayiyii Over the weekend, attended the exhibition of the rich culture and traditions of Ghana. From the opening of the play, the customs of the people of Wa […]]]>

It is said that the culture of a people identifies them and the patrons who attended the public screening of the last play of the National Theater. Ayiyii Over the weekend, attended the exhibition of the rich culture and traditions of Ghana.

From the opening of the play, the customs of the people of Wa were enacted when Ayiyii’s mother, Mrs. Yarney, conceives it for 16 months. According to the customs and rituals required for such an event, the guests were taken through customary rites to deliver her birth.

Ayiyii, the main character was born and raised with special traits not common in other children his age.

This prompts him to seek greener pastures far from his native land and this is how the plot unfolds, taking patrons through regions and displaying their rich culture.

After hearing that there is gold in other places, Ayiyii sets out on a journey to obtain it. His first stop is in the Bono area where he learns about the culture of the people through their festivals.

Ayiyii experiences funeral rites as part of Ashanti culture

From there he moved to the Ashanti region and experienced funeral rites as a major part of the culture of the people. Always in search of gold using his cunning means, he moves to other places until he arrives in the central region. There he finds a wife and the bosses get to know the customary rites of the people.

Not satisfied with the result of his stays since he did not find any gold, Ayiyii continues until he arrives in the Greater Accra region. Without any knowledge or experience of boxing, which is common with Ga-Dangmes, he gets involved in a boxing fight where he loses miserably.

Ayiyii gets beaten up when he gets involved in a boxing fight

Also with the natives, Ayiyii experiences the fortification and blessing rituals of the twins and their families by the Ga people. He also celebrates the Homowo feast with the people but with his greedy nature he steals a bowl of ” kpokpoi “the traditional food for the celebration of Homowo assuming it’s a pot of gold.

Unfortunately for him, he is caught and in his attempt to escape the wrath of the people, the pot of kpokpoi falls and shatters into pieces.

In an interview after the show with the artistic director of the Ghana Drama Company, Mawuli Semevor, he mentioned that the play is a staging of popular folklore. Ananse and the pot of gold.

The piece is interspersed with dances from different regions, which makes it a pleasure to watch. The costumes used are very appropriate and rich representing the different cultures of the Ghanaian people as well as their dance and food.

Ayiyii uses dance as an element to display Ghana’s rich culture

The play, which is presented under the aegis of the Ministry of Tourism, Arts and Culture is a collaboration between the three resident groups of the National Theater, namely the National Theater Company, the National Dance Company and the Orchestra National Symphony and Professor Sowah Mensah, playwright. , composer and writer.

There will be a recall of the play on Saturday 13th and Sunday 14th November.


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2021 Essential Theater Play Festival returns this fall https://theatreuaf.org/2021-essential-theater-play-festival-returns-this-fall/ https://theatreuaf.org/2021-essential-theater-play-festival-returns-this-fall/#respond Mon, 01 Nov 2021 09:13:32 +0000 https://theatreuaf.org/2021-essential-theater-play-festival-returns-this-fall/ Essential Theater is back live this fall, bringing on stage their 2021 Playwriting Award-winning plays, Anthony Lamarr White’s Calming the Man and Erin Considine’s Raising the Dead, as well as a encore performance of Shelby Hofer’s High Risk. , Baby! The 2020 Essential Play Festival has been canceled due to COVID – making 2020 the […]]]>

Essential Theater is back live this fall, bringing on stage their 2021 Playwriting Award-winning plays, Anthony Lamarr White’s Calming the Man and Erin Considine’s Raising the Dead, as well as a encore performance of Shelby Hofer’s High Risk. , Baby!

The 2020 Essential Play Festival has been canceled due to COVID – making 2020 the first year since the festival started in 1999 that there has been no festival – and the company has switched to play readings in online and launched community drama writing classes to fill the programming gap. “Moving the readings online has allowed us to continue to support the Georgia playwright community and stay in touch with our audience when we haven’t been able to meet in person,” says founding artistic director Peter Hardy, “ and the drama writing courses we’ve developed over the past year have been as inspirational for us at Essential as they seem to have been for the class participants! “

Fast forward to fall 2021: The winners of the 2021 Drama Writing Award have been named and dates have been set for a festival cut short in November for the premiere of their plays. The 2021 Essential Play Festival takes place November 5-21 at the West End Performing Arts Center (945 Ralph David Abernathy Blvd, Atlanta, GA 30310) in Atlanta’s historic West End, home of the Essential Theater since 2014. COVID restrictions, including mask and vaccine requirements, reduced seating, and improved air purification and cleaning practices will be in place to ensure performers and patrons have a safe and enjoyable time in the theater. For more information: COVID security policy To purchase tickets: EssentialTheatre.Tix.com

For more information and the latest updates, subscribe to our newsletter, follow us on Facebook, Twitter or Instagram or visit our website at www.EssentialTheatre.com.



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JKAACL hosts a play in Srinagar https://theatreuaf.org/jkaacl-hosts-a-play-in-srinagar/ https://theatreuaf.org/jkaacl-hosts-a-play-in-srinagar/#respond Sat, 30 Oct 2021 03:51:31 +0000 https://theatreuaf.org/jkaacl-hosts-a-play-in-srinagar/ SRINAGAR- On the closing day of the Iconic Week festival which is held as part of Azadi Ka Amrit Mahotsav’s celebrations, the J&K Academy of Arts, Culture and Languages ​​hosted a play at SKICC here on Friday. The play titled ‘Jheel Bula Rahi Hai’ was performed in association with Mission Youth, J&K and was performed […]]]>

SRINAGAR- On the closing day of the Iconic Week festival which is held as part of Azadi Ka Amrit Mahotsav’s celebrations, the J&K Academy of Arts, Culture and Languages ​​hosted a play at SKICC here on Friday.

The play titled ‘Jheel Bula Rahi Hai’ was performed in association with Mission Youth, J&K and was performed on stage by Actors Creative Theater, Srinagar. The play is a conventional drama about a fishing family who live on and off Lake Wular.

Commenting on the adoption of the play on stage, Academy Additional Secretary Sanjeev Rana said that by staging plays like “Jheel Bula Rahi Hai” and other similar initiatives, JKAACL aims to promote the rich traditions theatrical events in the territory of the Union.

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History play “Not in Our Neighborhood” highlights a dark history of St. Paul https://theatreuaf.org/history-play-not-in-our-neighborhood-highlights-a-dark-history-of-st-paul/ Tue, 19 Oct 2021 07:00:00 +0000 https://theatreuaf.org/history-play-not-in-our-neighborhood-highlights-a-dark-history-of-st-paul/ Here’s a story that hasn’t been told in the Minnesota history books. In the 1920s, a black couple from Rondo attempted to buy their dream home in an all-white neighborhood of St. Paul. Although William Francis was a successful lawyer and prominent Republican, and his wife Nellie Francis was a leader in the racial justice […]]]>

Here’s a story that hasn’t been told in the Minnesota history books.

In the 1920s, a black couple from Rondo attempted to buy their dream home in an all-white neighborhood of St. Paul. Although William Francis was a successful lawyer and prominent Republican, and his wife Nellie Francis was a leader in the racial justice and women’s suffrage movements, the couple faced intimidation, harassment and threats. when he tried to settle in the neighborhood.

In 1924, the couple decided to move from Rondo to a nearby neighborhood, Groveland Park, now known as Mac-Groveland. Two hundred white neighbors protested, picketed and set a cross on fire on the lawn of the Francis’ house.

What happened to the couple? Their story is told on stage at the History Theater in St. Paul until October 24. Written by Tom Fabel and Eric Wood, it is called “Not in Our Neighborhood”.

Cathy Wurzer discussed the play and its impact with Wood and Augsburg University history professor William Green, who has written a new book on Nellie called “Nellie Francis: Fighting for Racial Justice and Women’s. Equality in Minnesota “.

The play can be seen in person (if vaccinated) at the History Theater, or starting October 20, you can purchase tickets to broadcast the play at home.

Correction (Oct 21, 2021): An earlier version of this story misidentified Tom Fabel. The story has been updated.

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The Covid Requiem: Can theater play a role in the healing process? https://theatreuaf.org/the-covid-requiem-can-theater-play-a-role-in-the-healing-process/ https://theatreuaf.org/the-covid-requiem-can-theater-play-a-role-in-the-healing-process/#respond Tue, 07 Sep 2021 16:20:14 +0000 https://theatreuaf.org/the-covid-requiem-can-theater-play-a-role-in-the-healing-process/ Lesley Orr and Jo Clifford at The Shore in Leith PIC: Andrew O’Brien / JPI Media Sixteen months ago, when the UK’s first pandemic lockdown was only six weeks old, Pitlochry Festival Theater artistic director Elizabeth Newman gave an interview to The Scotsman about everything she and her colleagues were doing to try and keep […]]]>
Lesley Orr and Jo Clifford at The Shore in Leith PIC: Andrew O’Brien / JPI Media

Sixteen months ago, when the UK’s first pandemic lockdown was only six weeks old, Pitlochry Festival Theater artistic director Elizabeth Newman gave an interview to The Scotsman about everything she and her colleagues were doing to try and keep the theater alive as a creator and community center, following the sudden shutdown that caused the complete cancellation of what would have been Pitlochry’s 70th annual summer season.

Newman spoke eloquently of the new online work the theater was commissioning and its telephone chat service for regular viewers feeling isolated; and towards the end of our conversation, she added a few words that stood out to me, like a prediction or a promise. “It’s already evident,” she said, “that by the time we reopen again, the world will have changed. This pandemic is the kind of event that remains in people’s collective memory for a very long time, and we will have to recognize it, in different ways. And whatever our audience needs and whatever our artists want to do, my job is to make sure that somehow this theater will be there, trying to make it happen. .

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With these words, Newman may have become the first of Scottish theater leaders to recognize the scale and special quality of the losses people suffered during the pandemic. And now, after a year and four months that in many ways seems like a lifetime, Newman’s promise to respond to that experience is coming true, thanks to two remarkable women. This month playwright and performer Jo Clifford, and theologian and feminist activist Lesley Orr, will join forces to create a special walking performance called The Covid Requiem, in the beautiful forests behind the theater, where the Pitlochry company now has built a beautiful amphitheater space for outdoor performances.

For about an hour, to music from Duncan Chisholm and Innes Watson, Clifford and Orr will lead an audience of 30 through the woods to this space and then back again, stopping at five stations or locations. rest, to reflect on the many experiences and emotions of the past 18 months; and, for those who wish, to speak and remember the names of some of the missing. Both women were drawn to the topic because of their own experiences of recent loss – for Clifford of her brother Tony, who passed away at the end of 2019, and for Orr of her husband Reverend Peter Macdonald, of the Iona community and of Broughton St Mary’s Church. in Edinburgh, who died suddenly in February 2020, just before the pandemic; and both were struck by the need to recognize the deep pain of those who, during the pandemic, were not allowed to be with their dying loved ones and were unable to mark their passing with something like a funeral gathering normal.

“There were hundreds of people at Peter’s funeral,” says Lesley Orr. “We knew the pandemic was coming, and I remember thinking that day how helpful and heartwarming it was to be able to come together in this way, and how soon it might not be possible. “

Clifford had a similar experience writing and delivering the eulogy at his brother’s funeral. “It made me realize the importance of telling someone’s story and witnessing it after their death. So, during the first lockdown in the spring of last year, I felt very deeply for the families who lost people at that time. It seems to me that there is a tremendous amount of grief that is held collectively, without ever having been expressed correctly; and it occurred to me that theater could have a role to play in the beginning of the healing process.

So Clifford approached Newman, who in turn suggested he collaborate with Orr, who, like her late husband – and eldest son, talented young actor Lorn Macdonald – has been a lifelong theater buff. They started their collaboration by walking together in the woods of Pitlochry and deciding that the performance should take the form of a journey; and they also began to explore the various religious and spiritual rituals they had encountered in their parallel but very different lives as radical celebrants, in search of new forms of spiritual life. Clifford, for example, uses the ritual of Holy Communion in his internationally renowned and much discussed program, The Gospel According to Jesus, Queen of Heaven; and as a member of the Iona community, Orr is part of a radical religious movement that is trying to create new forms of ritual for our time.

“We looked at traditional funeral services and Requiem Masses, to prepare for them,” says Orr, “and we recognize the comfort people often find in these traditional words. But our goal is to take people with us and respond to these traditional services and other traditions of mourning, in a way that really holds and carries some of our feelings, right now. “

“There will be a lot of different emotions in our Requiem,” adds Clifford; “Grief and gratitude, as well as an element of anger – protests as well as lamentations. I have always been very aware of the sacred dimension of theater, and now I am more certain than ever that theater has to change, take on this role in people’s lives in order to survive.

“And Lesley, on the other hand, comes from a movement that believes that traditional religious institutions are also failing people and in need of a radical change. So we are in the process of creating something together that we hope will meet some of those needs right now. And of course there is something very special about doing that here in these wonderful forests in September – the time of year that marks the start of another cycle of death, and eventual revival and Renaissance.

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Reading of the play by the National Theater: participants question Justice to the Swine by Adegbamigbe https://theatreuaf.org/reading-of-the-play-by-the-national-theater-participants-question-justice-to-the-swine-by-adegbamigbe/ https://theatreuaf.org/reading-of-the-play-by-the-national-theater-participants-question-justice-to-the-swine-by-adegbamigbe/#respond Wed, 01 Sep 2021 07:00:00 +0000 https://theatreuaf.org/reading-of-the-play-by-the-national-theater-participants-question-justice-to-the-swine-by-adegbamigbe/ Justice to the Swine, a play written by Yomi Adegbamigbe, Department of Performing Arts, Adekunle Ajasin University, Akungba Akoko, Ondo State, Nigeria, was the subject of a public reading organized by the Iganmu National Theater , Lagos. Held penultimate Tuesday on the open ground on the side of entrance C ‘of the national monument, the […]]]>

Justice to the Swine, a play written by Yomi Adegbamigbe, Department of Performing Arts, Adekunle Ajasin University, Akungba Akoko, Ondo State, Nigeria, was the subject of a public reading organized by the Iganmu National Theater , Lagos. Held penultimate Tuesday on the open ground on the side of entrance C ‘of the national monument, the event brought together theater specialists, renowned actors, critics, cultural administrators and others. Hosted by Dr Felix Emoruwa, lecturer at the Department of Creative Arts, University of Lagos, reading the play was a captivating experience as notable theater arts practitioners such as Edmond Enaibe, Otunba Tunji Sotimirin, Leke Akintero, Titi Akimoyo-Kaaku and others. , participated in the reading of the different roles of the play, namely: Supo Bamikole, a pensioner of 69 years; Tanto Bamikole, his 27-year-old daughter, a teacher by profession; and Tokunbo B’Cole (Bamikole), Tanto’s youngest cousin from London.

“Justice to the Swine” is a Nigerian adaptation of Nothing But the Truth by John Kani. The central theme of the play, Justice to the Swine, is elusive justice that echoes unsolved murder cases and pension fraud in Nigeria. As Tantoloun (Tanto) and his father, Supo Bamikole, prepare to receive Comrade TBam’s body at the airport, Tanto begins to suspect a certain quarrel between his father and his late uncle, Comrade T-Bam (an exile June 12). However, the fact of Supo’s antipathy does not manifest until Tokunbo (Toks B’Cole) arrives with the ashes of his late father instead of his corpse.

TBam’s body had been cremated in London in accordance with his wife’s wish (against his own wish to be buried next to his parents’ grave). The tension builds and eventually reaches a crescendo between Supo and Tokunbo when she tries to lure Tanto to accompany her to London. This prompts Supo to relay the debilitating issues behind his bitterness against his country and his militant brother in exile (T-Bam), a leader of NADECO.

Topping Supo’s list are T-Bam’s betrayal and the brutal and orchestrated murder of Munirat, her sister, who was actively fighting her husband’s stolen warrant and illegal incarceration. Other issues are his unpaid gratuity / pension and unsolved murder / corruption cases. The play ends with the reconciliation between Supo and Tokunbo before Supo also joins his brother in the great afterlife. The Director General / CEO of the National Theater, Professor Sunday Enessi Ododo, said that the idea behind playing the play is “to read and have an impact on the quality of the play so that ultimately when the play will be staged, any ideas that participants in the play will advance so that the playwright can use it to rework the play is of benefit to the playwright and the play itself, and when it will be published, it will have an impact on her.

He added that there is a need to “give serious attention to documenting our art and what we do and the first person to address this issue is ourselves.” It is therefore important that we are careful to document what we are doing. An important feature of the play’s reading was the inspiring comments and reviews from the participants who made useful observations and recommendations about the play, in terms of composition and theatrical performance. In response, Dr Adegbamigbe thanked the management of the National Theater headed by Professor Ododo, for the opportunity. He also thanked the participants for their support, comments and recommendations.



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Art alert: play inspired by the life of the late Egyptian musician Mohamed Fawzy staged in Alexandria – Stage & Street – Arts & Culture https://theatreuaf.org/art-alert-play-inspired-by-the-life-of-the-late-egyptian-musician-mohamed-fawzy-staged-in-alexandria-stage-street-arts-culture/ https://theatreuaf.org/art-alert-play-inspired-by-the-life-of-the-late-egyptian-musician-mohamed-fawzy-staged-in-alexandria-stage-street-arts-culture/#respond Sun, 29 Aug 2021 19:51:54 +0000 https://theatreuaf.org/art-alert-play-inspired-by-the-life-of-the-late-egyptian-musician-mohamed-fawzy-staged-in-alexandria-stage-street-arts-culture/ A play retracing the life of the famous Egyptian musician and actor Mohamed Fawzy (1918-1966) entitled “The night is gone” was premiered on August 27 on the stage of the Lycée Al-Horreya theater in Alexandria. The next performances of the piece are scheduled for Thursday 2, Friday 3 and Saturday 4 September 2021, as well […]]]>

A play retracing the life of the famous Egyptian musician and actor Mohamed Fawzy (1918-1966) entitled “The night is gone” was premiered on August 27 on the stage of the Lycée Al-Horreya theater in Alexandria.

The next performances of the piece are scheduled for Thursday 2, Friday 3 and Saturday 4 September 2021, as well as 9 and 10 September.

Directed by Saeed Kabeel, the play guides viewers through the variety of creative fields that have characterized Fawzy’s career; from his original passion for singing and songwriting to his efforts in the film industry as an actor and filmmaker.

Fawzy is considered one of the main artists of the golden age of Egyptian culture (1940s-1960s). Throughout his career as a musician, he has collaborated with renowned names of his time such as Farid El-Atrash, Mohamed Abdel-Mottaleb and Mahmoud El-Sharif.

He wrote over 400 songs, many of which have become hallmarks of Egyptian musical culture. His best known compositions include “Maloh Al-Amar Maloh”, “Habiby Wi Eenaya”, “Wahashona Al-Habayeb” and “Shahat Al-Gharam”.

Fawzi also composed ‘Qassaman’ (‘We Pledge’), which is the national anthem of Algeria, whose lyrics were written by Moufdi Zakaria.

(Photo: courtesy of Saeed Kabeel)

The piece bears the same name as one of Fawzy’s most popular songs, released in 1955.

The play stars Mahmoud El-Zayat, Ahmed Askar, Khaled Nabil, Monica Joseph, Adel Saeed and Arsani Moshreqi.

The play was written by Ahmed Askar, while the team includes Mohamed Shehata in charge of music, set designer Walid Gaber and lighting designer Ibrahim El-Forn.

The play brought together some of the well-known figures of Alexandria’s theatrical scene, such as Ibrahim El-Forn, who is also the artistic director of the Festival Théâtre Sans Fonds (TWFF), which concluded its 11th edition on August 26.

Director Saeed Kabeel headed the theatrical programming unit of the Center for the Arts at the Bibliotheca Alexandrina before moving to Cairo, where he became responsible for programming at the Tahrir Cultural Center, which is part of the American University in Cairo.

Together with Mohamed Abdelrahman El-Shafei, Kabeel is currently the artistic director of the Cairo International Festival for Experimental Theater – which will be held from December 14 to 19, 2021. Kabeel also has extensive experience in directing plays, which were performed mainly on the stages of Alexandria.

Mohamed fawzy

(Photo: courtesy of Saeed Kabeel)

Program:

Thursday, September 2
Friday, September 3
saturday 4 september
Thursday, September 9
Friday, September 10

The play starts at 9 p.m.

Al-Horreya High School Theater
Eskander Al-Akbar Street, Shatby, Alexandria

For more information and updates on arts and culture, follow Ahram Online Arts and Culture on Twitter at @AhramOnlineArts and on Facebook at Ahram Online: Arts and Culture

Short link:



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Art Alert: play inspired by the life of the late Egyptian musician Mohamed Fawzy staged in Alexandria – Art Alert – Arts & Culture https://theatreuaf.org/art-alert-play-inspired-by-the-life-of-the-late-egyptian-musician-mohamed-fawzy-staged-in-alexandria-art-alert-arts-culture/ https://theatreuaf.org/art-alert-play-inspired-by-the-life-of-the-late-egyptian-musician-mohamed-fawzy-staged-in-alexandria-art-alert-arts-culture/#respond Sun, 29 Aug 2021 07:00:00 +0000 https://theatreuaf.org/art-alert-play-inspired-by-the-life-of-the-late-egyptian-musician-mohamed-fawzy-staged-in-alexandria-art-alert-arts-culture/ (Photo: courtesy of Saeed Kabeel) A play retracing the life of the famous Egyptian musician and actor Mohamed Fawzy (1918-1966) entitled “The night is gone” was premiered on August 27 on the stage of the Lycée Al-Horreya theater in Alexandria. The next performances of the piece are scheduled for Thursday 2, Friday 3 and Saturday […]]]>

(Photo: courtesy of Saeed Kabeel)

A play retracing the life of the famous Egyptian musician and actor Mohamed Fawzy (1918-1966) entitled “The night is gone” was premiered on August 27 on the stage of the Lycée Al-Horreya theater in Alexandria.

The next performances of the piece are scheduled for Thursday 2, Friday 3 and Saturday 4 September 2021, as well as 9 and 10 September.

Directed by Saeed Kabeel, the play guides viewers through the variety of creative fields that have characterized Fawzy’s career; from his original passion for singing and songwriting to his efforts in the film industry as an actor and filmmaker.

Fawzy is considered one of the main artists of the golden age of Egyptian culture (1940s-1960s). Throughout his career as a musician, he has collaborated with renowned names of his time such as Farid El-Atrash, Mohamed Abdel-Mottaleb and Mahmoud El-Sharif.

He wrote over 400 songs, many of which have become hallmarks of Egyptian musical culture. His best known compositions include “Maloh Al-Amar Maloh”, “Habiby Wi Eenaya”, “Wahashona Al-Habayeb” and “Shahat Al-Gharam”.

Fawzi also composed ‘Qassaman’ (‘We Pledge’), which is the national anthem of Algeria, whose lyrics were written by Moufdi Zakaria.

Mohamed fawzy

(Photo: courtesy of Saeed Kabeel)

The piece bears the same name as one of Fawzy’s most popular songs, released in 1955.

The play stars Mahmoud El-Zayat, Ahmed Askar, Khaled Nabil, Monica Joseph, Adel Saeed and Arsani Moshreqi.

The play was written by Ahmed Askar, while the team includes Mohamed Shehata in charge of music, set designer Walid Gaber and lighting designer Ibrahim El-Forn.

The play brought together some of the well-known figures of Alexandria’s theatrical scene, such as Ibrahim El-Forn, who is also the artistic director of the Festival Théâtre Sans Fonds (TWFF), which concluded its 11th edition on August 26.

Director Saeed Kabeel headed the theatrical programming unit of the Center for the Arts at the Bibliotheca Alexandrina before moving to Cairo, where he became responsible for programming at the Tahrir Cultural Center, which is part of the American University in Cairo.

Together with Mohamed Abdelrahman El-Shafei, Kabeel is currently the artistic director of the Cairo International Festival for Experimental Theater – which will be held from December 14 to 19, 2021. Kabeel also has extensive experience in directing plays, which were performed mainly on the stages of Alexandria.

Mohamed fawzy

(Photo: courtesy of Saeed Kabeel)

Program:

Thursday, September 2
Friday, September 3
saturday 4 september
Thursday, September 9
Friday, September 10

The play starts at 9 p.m.

Al-Horreya High School Theater
Eskander Al-Akbar Street, Shatby, Alexandria

For more information and updates on arts and culture, follow Ahram Online Arts and Culture on Twitter at @AhramOnlineArts and on Facebook at Ahram Online: Arts and Culture

Short link:



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Screening time: a virtual walk in the final “Play” of the KL and ICT theater https://theatreuaf.org/screening-time-a-virtual-walk-in-the-final-play-of-the-kl-and-ict-theater/ https://theatreuaf.org/screening-time-a-virtual-walk-in-the-final-play-of-the-kl-and-ict-theater/#respond Sat, 31 Jul 2021 06:30:00 +0000 https://theatreuaf.org/screening-time-a-virtual-walk-in-the-final-play-of-the-kl-and-ict-theater/ VIRTUAL EXHIBITION: THE BLIND AND THE ELEPHANT, IN KUALA LUMPUR Date and time: In progress Close your eyes. Imagine you are in downtown Kuala Lumpur. There are different sounds around you. Listen carefully. What do you hear? Graphic designer / artist Yap Weng Nam’s The blind and the elephant in Kuala Lumpur is an interactive […]]]>

VIRTUAL EXHIBITION: THE BLIND AND THE ELEPHANT, IN KUALA LUMPUR

Date and time: In progress

Close your eyes. Imagine you are in downtown Kuala Lumpur. There are different sounds around you. Listen carefully. What do you hear?

Graphic designer / artist Yap Weng Nam’s The blind and the elephant in Kuala Lumpur is an interactive virtual installation that explores the sounds of a place in Kuala Lumpur through two devices simultaneously: the computer and the smartphone / tablet.

This new book reflects on how Kuala Lumpur is a city that is constantly disappearing, renewing and evolving. “Each person who experiences the city carries a unique but limited memory and truth of it. To piece together the larger narrative of the city, we cannot just perceive it alone – we will have to do it collectively,” reads. we in a statement about this project.

To discover the installation, click here.

DIALOGUE WITH MAIZUL EFFENDY

Date and time: July 31, 8:30 p.m.

Multidisciplinary artist Maizul Effendy is in the spotlight for this second episode of PenangPac’s Dialogue series.

Maizul, academician, actor, director, scenographer and stage manager, will share his experiences in the different fields of art in which he has been involved. He will also discuss the challenges of the upcoming pandemic – in Penang and beyond – and how people in the arts can deal with them.

Dialogue With Maizul Effendy will be broadcast on the PenangPac Facebook page.

More info here.

ONLINE THEATER: PLAY! WITH JO KUKATHAS LIVE!

Date and time: August 1 noon (12 p.m.)

In April, Instant Cafe Theater’s Firstworks program launched an online theater series called To play, call on writers, directors, actors, readers and audiences interested in an online scenario study and to analyze the mechanisms of what makes a great play.

In the past 10 weeks, 30 participants from To play have traveled the world with the theater. For the final session, ICT’s Jo Kukathas invites the audience to join them to end their journey and share the highlights of their theatrical journeys.

More info here.

plane

ONLINE EXHIBITION: LIEW KWAI FEI’S ‘IN ORDER (TO PLAY)’

Date and time: until August 8

Liew Kwai Fei’s latest series of paintings explores the play of form and color in painting. In Malaysia, Liew is known as one of the few formalist painters of his generation, and this new solo exhibition at Backroom KL examines the full range of his appreciation of the medium and its expressive potential. The show can be viewed online.

More info here.

roomroom


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Laredo College presents the only play on screen https://theatreuaf.org/laredo-college-presents-the-only-play-on-screen/ https://theatreuaf.org/laredo-college-presents-the-only-play-on-screen/#respond Sun, 11 Jul 2021 07:00:00 +0000 https://theatreuaf.org/laredo-college-presents-the-only-play-on-screen/ The Laredo College Opera Workshop returns with a musical that will make Laredo College Guadalupe and the Lilia Martinez Fine Arts Center laugh. Laughter will continue with a slight twist; this piece will be presented in preview on the screens of the place where it was filmed. Due to the current pandemic, our Visual and […]]]>

The Laredo College Opera Workshop returns with a musical that will make Laredo College Guadalupe and the Lilia Martinez Fine Arts Center laugh. Laughter will continue with a slight twist; this piece will be presented in preview on the screens of the place where it was filmed.

Due to the current pandemic, our Visual and Performing Arts Department has generated unique approaches to provide Laredoans with entertainment in a fun and safe way, such as the very first drive-in musical. This year, their minds have merged to innovate yet again, creating a play that will premiere as a film.


Five actors and a full production crew came together virtually to write, direct, and produce a story with the Laredoans in mind. In the space of about two weeks, LC theater students wrote about four people who signed up for a popular matchmaking service called Rent-A-Yenta.

Rent-A-Yenta is the story of an employee matchmaker, Ms. Valentine, who pairs up four people in an effort to find their better half. Unfortunately, when she initially pairs the couples, one of the men convinces her to pair him up with someone else. Against her better judgment, Ms. Valentine changes the arrangement of couples going on what turns out to be disastrous blind dates. Finally, a surprising ending arises which puts everything in order.

The fun turn of events will have audiences laughing, singing and even dancing to the fantastic selection of tunes attendees will enjoy at this premiere. As voice teacher Dr. Joseph Crabtree mentioned, they found the most appropriate songs for the story, leading the characters in specific directions. Beethoven’s Aria is one of the German lyrics that had to be translated into English and rewritten to be incorporated into the script.

After the musical was over, the actors were filmed individually to bring the storyline to life. The production department went above and beyond in the editing process, making the film appear as if the actors were in one place.

Instead of being performed live, the play will premiere on the LC MFA theater screen. This unique process was ideal for providing the community with a special form of entertainment that challenges the challenges of the current pandemic.

Theater director William Hauserman said: “It was a very interesting and exciting project as it helps prepare students for work in television and film, rather than the live stage format we normally use. “

Many actors who have been part of the opera musical theater course at LC and have appeared in previous opera workshops. The experience they acquired within our institution has helped them develop and hone their theatrical skills.

Bring your date to the MFA Theater on July 15 at 7 p.m. to witness this unique performance. Admission tickets is only $ 5, and all funds raised will go towards scholarships for future productions. For more information, contact us at (956) 721-5334.


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