“At the Paris Opéra, there were many colleagues to deal with and only the institution’s most successful composers had enough clout to impose their will on a piece. It makes sense that Verdi’s triumph came at the end, when he was no longer just a successful foreigner, but a living legend and someone who had a work history with the company. For Don Carlos, he was the ultimate authority, like a modern movie auteur.” – San Francisco Classical Voice
Lionel Shriver, who is sixty-three, thinks people are ridiculous for congratulating themselves on enduring quarantine, when the worst is yet to come. “This is not the bad part,” she said. – The New Yorker
The current crisis has turned the industry’s cracks into chasms, exposing the ways in which it fails its workers almost by design. It has also raised the question of what restaurants will look like—and how they could survive—once this is all over. But a better question might be whether they should survive as they currently exist. What could restaurants look like if we threw out the old system and built something better? – The New Republic
“In our first performance one of our actors froze in the middle of her big solo. But, fortunately, we had planned for and built that into the piece, so what we did is skip to the next cue, and then when she unfroze she joined up with us again, just as you would do if you were doing a live play or musical or opera.” – American Theatre
Over the years, the blockbuster has been frequently called into question, and with good reason. Do these shows really serve our audiences or do they just pander to the crowd in order to attract large numbers of visitors? – The Art Newspaper
That’s what Uruguayans are doing with Carrasco International Airport near Montevideo. The movies, screened every evening, range from The Lion King and Sonic the Hedgehog to Bohemian Rhapsody and Joker. Viewers, in their cars, can order snacks and drinks via WhatsApp, and they can put on masks and go inside to use the airport’s (constantly cleaned) restrooms. – The Guardian
To live is to encounter the tragic — a reality shot through with utter strife, and covered in complete darkness. Despite our best attempts, we are not going to get out of it. For philosophers to overlook, sugarcoat, or rationalize this fact is to deny something essential about who we are and what we might become, both intentionally but also in spite of ourselves. – Los Angeles Review of Books
Melbourne Writers Festival seeks a creative and visionary Artistic Director to curate and deliver its annual festivals in 2021–2023. Working closely with the CEO, the Artistic Director will provide the organisation’s artistic vision and curatorial leadership — delivering festivals that inspire, challenge and delight existing and new audiences.
To apply for this position, please forward a covering letter; a current resume including three referees; and a statement addressing each of the key selection criteria as a single document via email, with the subject line ARTISTIC DIRECTOR APPLICATION – [YOUR NAME] to:
John Jerome Myers, Chair
Applications close 5pm AEST, Friday 19 June 2020.
First round interviews will take place on Friday 3 July 2020, with subsequent interviews to follow shortly after.
Today the more relevant split is the more recent one between modern and contemporary fields (the latter has no exact date of origin—1968, 1980, 1989?), which is a schism less between the university and the museum than between scholarly curators and flashy exhibition-makers. This split was opened up when the 20th-century art museum was penetrated by the culture industry, and it was deepened when the contemporary art world expanded into the global business of art biennials and fairs. With the first development came a demand for on-site entertainment, and with the second a need for far-flung attractions. – Artnet
Here, for instance, are the rules for dance class at the Ballet du Rhin in France: “Dancers are not allowed to use changing rooms. Instead, they must go directly to the studio and stand at a marked spot at the barre, about 11 feet away from others. Their outside clothes must go into a bag to ensure they do not touch anything … [and] that bag must then be put into another one provided by the company that is thrown into the trash once the class has finished. They are also each given a spray to disinfect the barre. And, of course, they have to dance wearing masks.” – The New York Times