Liz Mak is a writer and multimedia producer living in Oakland. Her pieces have been published by The New York Times, NPR, and KALW, among others.
By Liz Mak
In Human Rights Watch Film Festival, a Tender and Triumphant Spirit
Experimenting Online: MoMA's 'Design and Violence'
Tristan & Who? It's About The Ones They Left Behind
Tristan & Who? It's About The Ones They Left Behind
The Roles Women Play: 'Beauty and Sacrifice' in Chinese Cinema
A Young Ginsberg Finds His Voice in 'Kill Your Darlings'
War, Death, and Gold-Plated Guns at the 'Baghdad Zoo'
Tiny Furniture
Caligari
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"content": "\u003cp>San Francisco’s Human Rights Watch Film Festival is a small documentary showcase featuring six films from the flagship festivals in New York and London. But as limited as the selection may be, the content is expansive, traveling the globe and covering issues as varied as women’s rights, poverty, marriage equality and a failed judicial system.\u003c/p>\n\u003cp>There is plenty of what you might expect — staggering poverty and political injustices caught on film — but for as many moments of sobering reality, there are just as many of human triumph and inspiration.\u003c/p>\n\u003cp>With \u003ci>Rafea: Solar Mama\u003c/i>, filmmakers Jehane Noujaim and Mona Eldaief take us into the Jordanian desert to a Bedouin village rife with poverty and unemployment. There, Rafea raises her children on her own, though she has little money to raise them with. By a stroke of luck, she’s chosen for an international program at the Barefoot College in India, which trains illiterate women from around the world to become solar engineers. \u003c/p>\n\u003cp>Rafea’s tasked with a huge burden: If she succeeds, she’ll become Jordan’s first female solar engineer. She hopes to change the status of women in her village and to become a breadwinner for her family. But her problems are not limited to poverty and illiteracy: Rafea’s husband believes she shouldn’t be allowed outside of the home, let alone the country, and her family reprimands her for not staying by her children’s side.\u003c/p>\n\u003cfigure id=\"attachment_10134572\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw1.jpg\" alt=\"In the shadow of the sun\" width=\"500\" height=\"332\" class=\"size-full wp-image-10134572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw1-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>In the Shadow of the Sun\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Characters like Rafea looking to make change their own lives the lives of their communities are the standard in this activist-centered film fest. \u003ci>In the Shadow of the Sun\u003c/i> introduces another individual: Josephat Torner, a Tanzanian man living with albinism. Josephat lives in a country where albinos are farmed for their body parts and called “white devils,” an epithet cast by those who believe the myth that albino body parts bring wealth and good luck. For many in Tanzania, Josephat and others like him are less than human.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Embarking on a countrywide tour, Josephat finds children cloistered into albino-only schools with security guards and high outer walls to keep out predators. He speaks with those prevented from going to school because of the violent bullying. Filmmaker Harry Freeland films these encounters beautifully, showing a beguiling landscape where ugliness lingers in the background.\u003c/p>\n\u003cfigure id=\"attachment_10134573\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw2.jpg\" alt=\"An unreal dream the michael morton story\" width=\"500\" height=\"430\" class=\"size-full wp-image-10134573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2-300x258.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>An Unreal Dream: The Michael Morton Story\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The film festival doesn’t only shed light on human rights violations in third world countries; many of these issues hit home as well. Al Reinert’s \u003ci>An Unreal Dream: The Michael Morton Story\u003c/i> exposes the failings of the U.S. judicial system. After his wife’s murder, Michael Morton was sent to prison and lost his only son. Twenty-five years later, Morton gained his freedom after a simple DNA test and the release of evidence that had been previously surpressed proved his innocence. Another film, \u003ci>The New Black\u003c/i>, covers the marriage equality movement in Maryland, intimately examining the black community’s internal struggle with LGBT rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Human Rights Watch Film Festival 2014\u003c/b> opens Thursday, April 10 and runs through Sunday, April 27, 2014 at the Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/human-rights-watch#related_events\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Embarking on a countrywide tour, Josephat finds children cloistered into albino-only schools with security guards and high outer walls to keep out predators. He speaks with those prevented from going to school because of the violent bullying. Filmmaker Harry Freeland films these encounters beautifully, showing a beguiling landscape where ugliness lingers in the background.\u003c/p>\n\u003cfigure id=\"attachment_10134573\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/04/hrw2.jpg\" alt=\"An unreal dream the michael morton story\" width=\"500\" height=\"430\" class=\"size-full wp-image-10134573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/04/hrw2-300x258.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>An Unreal Dream: The Michael Morton Story\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The film festival doesn’t only shed light on human rights violations in third world countries; many of these issues hit home as well. Al Reinert’s \u003ci>An Unreal Dream: The Michael Morton Story\u003c/i> exposes the failings of the U.S. judicial system. After his wife’s murder, Michael Morton was sent to prison and lost his only son. Twenty-five years later, Morton gained his freedom after a simple DNA test and the release of evidence that had been previously surpressed proved his innocence. Another film, \u003ci>The New Black\u003c/i>, covers the marriage equality movement in Maryland, intimately examining the black community’s internal struggle with LGBT rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Human Rights Watch Film Festival 2014\u003c/b> opens Thursday, April 10 and runs through Sunday, April 27, 2014 at the Yerba Buena Center for the Arts. For \u003ca href=\"http://www.ybca.org/human-rights-watch#related_events\">tickets and information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Consider the \u003ca href=\"http://www.moma.org/\">Museum of Modern Art \u003c/a>‘s latest curatorial project, \u003ci>Design and Violence\u003c/i>, as comparable to an experimental online course. It has an intriguing class description, set topics for each week, and a comments section akin to the discussion following a lecture (and like most classes, the success of this part depends on the quality and quantity of student participation).\u003c/p>\n\u003cp>The catalog description might read something like this: Designer Victor Papanek once said, “There are professions more harmful than industrial design, but only a very few of them.” \u003ci>Design and Violence\u003c/i> will explore the concept of violence in design in the context of today’s world, and deconstruct the ambiguous relationship of design and violence. Violent design often arises as the byproduct of designers making commentary, protesting, and sometimes succumbing to ambiguous morality and mistakes. “Violence,” here, is defined as “the manifestation of the power to alter circumstances against the will of others and to their detriment.”\u003c/p>\n\u003cp>Like any other course would be, there’s a bit of novelty and ingenuity involved. The project is helmed by a curatorial staff and selected weekly “authors,” whose expertise ranges from science fiction (William Gibson) to journalism (John Hockenberry) to policy planning (Anne-Marie Slaughter). And the shelf life for the project is not a quarter, nor a semester, but TBD: It may last for several months, or even years. Having begun in October, it’s too early to tell. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Fountain\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>The project’s concept of violence is broad: While the curators have determined set categories — hack/infect, constrain, stun, penetrate, manipulate/control, intimidate, and explode — the violent objects that the project actually studies sometimes fall into more vague categories. There’s the fragrance made of sweat samples culled from cage fights. There’s also the Merrick Lamp — a simple IKEA design, exposed to a computer virus and conceived via a 3-D printer. (In its final version, it looks like a lamp stricken with elephantiasis.) Within the broad array of designs, many of these are objects that don’t necessarily inflict violence, but have been subject to it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While all of the intriguing objects fall within the overlap of design and violence, they also occupy other intersections: of design and commerce, or design and protest. There’s the Guardian Angel handbag, a felt purse imprinted with the outline of a dangerous weapon, for one. According to designers, it was a handbag made in response to the media’s reaction to street violence in the Netherlands. It was also a handbag for sale, toted by pop icon Rihanna and selling for prices reaching upwards of 500 dollars. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Exhaust\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>Exposition on the curated objects ranges from the personal to analytical. The authors alternate between mining their personal associations with the object at hand (martini glasses with a built-in cigarette holder) to writing more analytically (perhaps the Liberator, a gun manufactured by a 3-D printer, is not just a DIY weapon; maybe it’s also a critique of gun control and a reaffirmation of the Second Amendment!). Like a classroom, a lot of the analysis involves a close-reading of the objects, some of it grounded in fact and history, some in semi-indulgent reflection.\u003c/p>\n\u003cp>As the MoMA curators will tell you, this is a project that captures the cultural zeitgeist, with all of the selected designs made after 2001. But the project is more than rooted in the past, and for the future of the project, the curators are looking to expand with their proposed phase two. The plan is to add a Google Earth component, one that will pinpoint worldwide locations in which each object can be found. It’s supposed to allow any curious — and travel-ready — audiences to be able to physically see the object, much like a traditional exhibition display. And as the project shifts to include a more conventional exhibition space, it’ll be interesting not only to see how the curation shifts, but also to determine the success of the online component of the project itself. It is, after all, an experiment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.designandviolence.moma.org/\">more information\u003c/a> visit designandviolence.moma.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consider the \u003ca href=\"http://www.moma.org/\">Museum of Modern Art \u003c/a>‘s latest curatorial project, \u003ci>Design and Violence\u003c/i>, as comparable to an experimental online course. It has an intriguing class description, set topics for each week, and a comments section akin to the discussion following a lecture (and like most classes, the success of this part depends on the quality and quantity of student participation).\u003c/p>\n\u003cp>The catalog description might read something like this: Designer Victor Papanek once said, “There are professions more harmful than industrial design, but only a very few of them.” \u003ci>Design and Violence\u003c/i> will explore the concept of violence in design in the context of today’s world, and deconstruct the ambiguous relationship of design and violence. Violent design often arises as the byproduct of designers making commentary, protesting, and sometimes succumbing to ambiguous morality and mistakes. “Violence,” here, is defined as “the manifestation of the power to alter circumstances against the will of others and to their detriment.”\u003c/p>\n\u003cp>Like any other course would be, there’s a bit of novelty and ingenuity involved. The project is helmed by a curatorial staff and selected weekly “authors,” whose expertise ranges from science fiction (William Gibson) to journalism (John Hockenberry) to policy planning (Anne-Marie Slaughter). And the shelf life for the project is not a quarter, nor a semester, but TBD: It may last for several months, or even years. Having begun in October, it’s too early to tell. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Fountain\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>The project’s concept of violence is broad: While the curators have determined set categories — hack/infect, constrain, stun, penetrate, manipulate/control, intimidate, and explode — the violent objects that the project actually studies sometimes fall into more vague categories. There’s the fragrance made of sweat samples culled from cage fights. There’s also the Merrick Lamp — a simple IKEA design, exposed to a computer virus and conceived via a 3-D printer. (In its final version, it looks like a lamp stricken with elephantiasis.) Within the broad array of designs, many of these are objects that don’t necessarily inflict violence, but have been subject to it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While all of the intriguing objects fall within the overlap of design and violence, they also occupy other intersections: of design and commerce, or design and protest. There’s the Guardian Angel handbag, a felt purse imprinted with the outline of a dangerous weapon, for one. According to designers, it was a handbag made in response to the media’s reaction to street violence in the Netherlands. It was also a handbag for sale, toted by pop icon Rihanna and selling for prices reaching upwards of 500 dollars. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/designviolence2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>\u003ci>Exhaust\u003c/i>, 1997, Diller + Scofidio; Photo: Michael Moran/OTTO\u003cbr>\u003c/center>\n\u003cp>Exposition on the curated objects ranges from the personal to analytical. The authors alternate between mining their personal associations with the object at hand (martini glasses with a built-in cigarette holder) to writing more analytically (perhaps the Liberator, a gun manufactured by a 3-D printer, is not just a DIY weapon; maybe it’s also a critique of gun control and a reaffirmation of the Second Amendment!). Like a classroom, a lot of the analysis involves a close-reading of the objects, some of it grounded in fact and history, some in semi-indulgent reflection.\u003c/p>\n\u003cp>As the MoMA curators will tell you, this is a project that captures the cultural zeitgeist, with all of the selected designs made after 2001. But the project is more than rooted in the past, and for the future of the project, the curators are looking to expand with their proposed phase two. The plan is to add a Google Earth component, one that will pinpoint worldwide locations in which each object can be found. It’s supposed to allow any curious — and travel-ready — audiences to be able to physically see the object, much like a traditional exhibition display. And as the project shifts to include a more conventional exhibition space, it’ll be interesting not only to see how the curation shifts, but also to determine the success of the online component of the project itself. It is, after all, an experiment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.designandviolence.moma.org/\">more information\u003c/a> visit designandviolence.moma.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 10th anniversary production of \u003ca href=\"http://www.kneehigh.co.uk/\">Kneehigh’s\u003c/a> \u003ci>Tristan & Yseult\u003c/i> is a refashioning of the show that first put the British troupe on the map. And under director Emma Rice’s inventive eye, it’s a version that manages to pay homage to the original story, while upending the typical histrionics of the \u003ci>Tristan & Yseult\u003c/i> franchise.\u003c/p>\n\u003cp>Writers Carl Grose and Anna Maria Murphy’s adaptation pulls out all the stops, swerving from bawdy humor to dark melodrama, mixing cross-dressing with tragedy. Cheekily irreverent and silly, the show revels in the versatility of the skilled troupe: Actors haul out talents as if from a bottomless chest, pulling off musical performances, \u003ci>Riverdance\u003c/i> impersonations and wire acrobatics. \u003ci>This\u003c/i> is a show for showmen.\u003c/p>\n\u003cp>But for all its bells and whistles, \u003ci>Tristan & Yseult\u003c/i> has as much depth as it does dazzle. The play, which opens with a primly dressed Miss Whitehands singing melancholy love ballads, ultimately is marked by deep nostalgia. It’s an ode to the mythic romance and a monument to having loved — and having lost.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/02/ty2.jpg\" style=\"margin-bottom: 10px\" alt=\"tristan and yseult\">\u003c/p>\n\u003cp>The drama begins when a wounded Tristan, fresh from the battlefield after defeating the Irish mobster Morholt (Craig Johnson), is sent to find a wife for his uncle, King Mark (Mike Shepherd). The wife in question happens to be Morholt’s sister, Yseult (Patrycja Kujawska). When Tristan finds her — and when she, in turns, finds out her fate — she’s torn apart. But there’s a potion to solve this problem: It’s a mixture that makes her fall in love with the king responsible for her brother’s death. As she buries her sorrow in swigs of elixir, accidentally or on purpose, Tristan drinks from the bottle, too. The wrong pair ends up falling in love — and right before the wedding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yseult, after meeting an unexpectedly gentle King Mark, wonders if she might be capable of loving two people. And when the potion finally wears off, as potions do, we’re left to discover whether Tristan and Yseult, post-potion, will choose to stay together.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/02/ty.jpg\" style=\"margin-bottom: 10px\" alt=\"tristan and yseult\">\u003c/p>\n\u003cp>Like a film in which the editing is purposefully evident, so are the mechanics of this production. The actors speak from a raised center platform, and the crew and band work and play from the stage. Costume changes take place far from the wings of the theater, exposed for the audience to see. In keeping backstage secrets always in sight, it’s clear to those who watch that Tristan and Yseult live — and love — on a stage, one arranged for a romance that was always pre-figured by fate.\u003c/p>\n\u003cp>Their love and turmoil unravel under the careful eye of Miss Whitehands, the play’s omniscient narrator, played by a serenely self-possessed Carly Bawden. She’s a cool, classy lady, with a soulful voice and an unruffled demeanor; like a diva surrounded by her entourage, she’s flanked by the “Lovespotters,” dark, hooded figures who troll the stage with binoculars in search of romance. They are all members of the “Club of the Unloved.”\u003c/p>\n\u003cp>The show is a joy to watch, entertaining at every turn, and it’s initially easy to write it off as largely style with little substance. But it’s the ending that serves a payoff far greater than you might imagine, and gives the rest of the work its depth and meaning. The Lovespotters, who have so far kept to the periphery, emerge from the depths of the stage. Serving as both crew and prop masters — every once in a while giving life to a mechanical bird, or helping an actor hook into his equipment, always in the background — they’re now the main event. They’re the ones we remember at the end, the unloved — previously lost in the shadows of Tristan and Yseult’s great romance.\u003c/p>\n\u003cp>\u003ci>Tristan & Yseult\u003c/i> runs through January 6, 2014 at Berkeley Repertory Theatre. For \u003ca href=\"http://berkeleyrep.org/season/1314/7245.asp\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos by Steve Tanner.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 10th anniversary production of \u003ca href=\"http://www.kneehigh.co.uk/\">Kneehigh’s\u003c/a> \u003ci>Tristan & Yseult\u003c/i> is a refashioning of the show that first put the British troupe on the map. And under director Emma Rice’s inventive eye, it’s a version that manages to pay homage to the original story, while upending the typical histrionics of the \u003ci>Tristan & Yseult\u003c/i> franchise.\u003c/p>\n\u003cp>Writers Carl Grose and Anna Maria Murphy’s adaptation pulls out all the stops, swerving from bawdy humor to dark melodrama, mixing cross-dressing with tragedy. Cheekily irreverent and silly, the show revels in the versatility of the skilled troupe: Actors haul out talents as if from a bottomless chest, pulling off musical performances, \u003ci>Riverdance\u003c/i> impersonations and wire acrobatics. \u003ci>This\u003c/i> is a show for showmen.\u003c/p>\n\u003cp>But for all its bells and whistles, \u003ci>Tristan & Yseult\u003c/i> has as much depth as it does dazzle. The play, which opens with a primly dressed Miss Whitehands singing melancholy love ballads, ultimately is marked by deep nostalgia. It’s an ode to the mythic romance and a monument to having loved — and having lost.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/02/ty2.jpg\" style=\"margin-bottom: 10px\" alt=\"tristan and yseult\">\u003c/p>\n\u003cp>The drama begins when a wounded Tristan, fresh from the battlefield after defeating the Irish mobster Morholt (Craig Johnson), is sent to find a wife for his uncle, King Mark (Mike Shepherd). The wife in question happens to be Morholt’s sister, Yseult (Patrycja Kujawska). When Tristan finds her — and when she, in turns, finds out her fate — she’s torn apart. But there’s a potion to solve this problem: It’s a mixture that makes her fall in love with the king responsible for her brother’s death. As she buries her sorrow in swigs of elixir, accidentally or on purpose, Tristan drinks from the bottle, too. The wrong pair ends up falling in love — and right before the wedding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yseult, after meeting an unexpectedly gentle King Mark, wonders if she might be capable of loving two people. And when the potion finally wears off, as potions do, we’re left to discover whether Tristan and Yseult, post-potion, will choose to stay together.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/02/ty.jpg\" style=\"margin-bottom: 10px\" alt=\"tristan and yseult\">\u003c/p>\n\u003cp>Like a film in which the editing is purposefully evident, so are the mechanics of this production. The actors speak from a raised center platform, and the crew and band work and play from the stage. Costume changes take place far from the wings of the theater, exposed for the audience to see. In keeping backstage secrets always in sight, it’s clear to those who watch that Tristan and Yseult live — and love — on a stage, one arranged for a romance that was always pre-figured by fate.\u003c/p>\n\u003cp>Their love and turmoil unravel under the careful eye of Miss Whitehands, the play’s omniscient narrator, played by a serenely self-possessed Carly Bawden. She’s a cool, classy lady, with a soulful voice and an unruffled demeanor; like a diva surrounded by her entourage, she’s flanked by the “Lovespotters,” dark, hooded figures who troll the stage with binoculars in search of romance. They are all members of the “Club of the Unloved.”\u003c/p>\n\u003cp>The show is a joy to watch, entertaining at every turn, and it’s initially easy to write it off as largely style with little substance. But it’s the ending that serves a payoff far greater than you might imagine, and gives the rest of the work its depth and meaning. The Lovespotters, who have so far kept to the periphery, emerge from the depths of the stage. Serving as both crew and prop masters — every once in a while giving life to a mechanical bird, or helping an actor hook into his equipment, always in the background — they’re now the main event. They’re the ones we remember at the end, the unloved — previously lost in the shadows of Tristan and Yseult’s great romance.\u003c/p>\n\u003cp>\u003ci>Tristan & Yseult\u003c/i> runs through January 6, 2014 at Berkeley Repertory Theatre. For \u003ca href=\"http://berkeleyrep.org/season/1314/7245.asp\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos by Steve Tanner.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yseult, after meeting an unexpectedly gentle King Mark, wonders if she might be capable of loving two people. And when the potion finally wears off, as potions do, we’re left to discover whether Tristan and Yseult, post-potion, will choose to stay together.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/02/ty.jpg\" style=\"margin-bottom: 10px;\" alt=\"tristan and yseult\">\u003c/center>\n\u003cp>Like a film in which the editing is purposefully evident, so are the mechanics of this production. The actors speak from a raised center platform, and the crew and band work and play from the stage. Costume changes take place far from the wings of the theater, exposed for the audience to see. In keeping backstage secrets always in sight, it’s clear to those who watch that Tristan and Yseult live — and love — on a stage, one arranged for a romance that was always pre-figured by fate.\u003c/p>\n\u003cp>Their love and turmoil unravel under the careful eye of Miss Whitehands, the play’s omniscient narrator, played by a serenely self-possessed Carly Bawden. She’s a cool, classy lady, with a soulful voice and an unruffled demeanor; like a diva surrounded by her entourage, she’s flanked by the “Lovespotters,” dark, hooded figures who troll the stage with binoculars in search of romance. They are all members of the “Club of the Unloved.”\u003c/p>\n\u003cp>The show is a joy to watch, entertaining at every turn, and it’s initially easy to write it off as largely style with little substance. But it’s the ending that serves a payoff far greater than you might imagine, and gives the rest of the work its depth and meaning. The Lovespotters, who have so far kept to the periphery, emerge from the depths of the stage. Serving as both crew and prop masters — every once in a while giving life to a mechanical bird, or helping an actor hook into his equipment, always in the background — they’re now the main event. They’re the ones we remember at the end, the unloved — previously lost in the shadows of Tristan and Yseult’s great romance.\u003c/p>\n\u003cp>\u003ci>Tristan & Yseult\u003c/i> runs through January 6, 2014 at Berkeley Repertory Theatre. For \u003ca href=\"http://berkeleyrep.org/season/1314/7245.asp\">tickets and information\u003c/a> visit berkeleyrep.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All photos by Steve Tanner.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c/p>\u003cp>A trailer for the Pacific Film Archive’s latest film series, \u003cb>Beauty and Sacrifice: Images of Women in Chinese Cinema\u003c/b>, could run just a few seconds long, captured by a single, pained look of a female protagonist, looking longingly, and grieving wordlessly, to the sky.\u003c/p>\n\u003cp>The program, starting this Friday and running until December 8, is a companion series to the Berkeley Art Museum’s exhibit, \u003ca href=\"http://bampfa.berkeley.edu/exhibition/beauty_revealed\">Beauty Revealed: Images of Women in Qing Dynasty Chinese Painting\u003c/a>. And like a painting, the selection of films reveals women dressed in fine clothes, though stifled under layers of propriety.\u003c/p>\n\u003cp>Three films star or are about legendary actress Ruan Lingyu, a champion of Shanghai cinema’s tragic, modern woman.These films feature single mothers down on their luck, but who envision themselves as part of an emerging class of independent women. They also clearly and unromantically illustrate the limitations of women during this time, who for all their self reliance and self-determination, had very few options available to them.\u003c/p>\n\u003cp>Wu Yonggang’s 1934 silent film, \u003ci>The Goddess\u003c/i>, was originally conceived as an oil painting, inspired by both the misery and steely resolve of the prostitutes the director often passed on his way to work. The film, featuring Ruan Lingyu, reveals the woman’s struggle to survive and provide for her child as a virtuous one that brings its own unending stream of sorrows, including a mobster who stalks her and claims her as his property. Ruan’s classic move here is a look upwards to a Shanghai skyline that continually dims.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/06/newwomen.jpg\">\u003cbr>\u003ci>New Women\u003c/i>\u003c/p>\n\u003cp>Bleak narratives showing both the strengths and limitations of women, these films also champion virtuous mothers, who remain moral champions even when steeped in vice. In Cai Chusheng’s \u003ci>New Women\u003c/i> (1935) – one of Ruan Lingyu’s final films — the actress plays Wei Ming, a well-liked schoolteacher and burgeoning writer. But the settings for optimism have little place in a cinema of stark, disappointing reality. \u003ci>The Goddess\u003c/i> and \u003ci>New Women\u003c/i>, staples of Chinese cinema, have already etched out their thesis: Women — no matter how smart, accomplished, and independent they may be — are eventually reduced to their value and usefulness to men.\u003c/p>\n\u003cp>It’s the very men who long to be with her that end up being catalysts for her eventual demise. Wei Ming shrugs off the advances of a rich (and married) banker and also those of a potential newspaper employer, who later publishes an article exposing her shame. But beset by financial woes and an ailing (and secret) daughter, she finds that, in choosing the path of independence and self-sufficiency, she has very few options. Prostitution is her next move, and it’s one of desperation. New Women are, in this film, much the same as old women: fodder for men, whether it be for their highly anticipated book sales, or for their sensational news clips.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/06/centerstage.jpg\">\u003cbr>\u003ci>Center Stage\u003c/i>\u003c/p>\n\u003cp>Ruan’s suicide at the height of her career – and only months after her onscreen suicide in \u003ci>New Women\u003c/i> — forever cemented her in memory as a star. Her life and times get the biopic treatment in Stanley Kwan’s \u003ci>Center Stage\u003c/i> (1992), starring Maggie Cheung. It’s an unconventional, Modernist biography — one that features documentary interviews with Ruan’s contemporaries, reenacted scenes, original film footage, and modern-day discussions with the actors portraying her and her contemporaries, discussing her motivations and life behind the scenes.\u003c/p>\n\u003cp>While the series is one focused on the role women play in Chinese cinema, Kwan’s film broadens the discussion, illuminating the role Ruan Lingyu played not only on screen, but in her real life, and in our imaginations, as a legend. It’s one that, not unlike her characters, was as a woman perpetually running away from men.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/06/moodforlove.jpg\">\u003cbr>\u003ci>In the Mood for Love\u003c/i>\u003c/p>\n\u003cp>The series includes two additional films, \u003ci>In the Mood for Love\u003c/i> and \u003ci>The Arch\u003c/i>, staples and beloved films of Chinese Cinema. Wong Kar Wai’s universally acclaimed 2000 work, \u003ci>In the Mood for Love\u003c/i>, also stars Maggie Cheung, alongside Tony Leung Chiu Wai. Along with \u003ci>The Arch\u003c/i>, a 1969 precursor to the Hong Kong New Wave style, both films chronicle the silent sorrow of women trapped by their propriety. These women, unlike Ruan Lingyu’s characters, are not women saddled with poverty, or forced into prostitution, but like those women, they live as though they were born to bear their pain in silence. Their world, too, is a world of philandering men, one spent waiting to be given permission to experience life to the fullest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Beauty and Sacrifice: Images of Women in Chinese Cinema\u003c/b> runs through December 8, 2013 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/beautyandsacrifice\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>A trailer for the Pacific Film Archive’s latest film series, \u003cb>Beauty and Sacrifice: Images of Women in Chinese Cinema\u003c/b>, could run just a few seconds long, captured by a single, pained look of a female protagonist, looking longingly, and grieving wordlessly, to the sky.\u003c/p>\n\u003cp>The program, starting this Friday and running until December 8, is a companion series to the Berkeley Art Museum’s exhibit, \u003ca href=\"http://bampfa.berkeley.edu/exhibition/beauty_revealed\">Beauty Revealed: Images of Women in Qing Dynasty Chinese Painting\u003c/a>. And like a painting, the selection of films reveals women dressed in fine clothes, though stifled under layers of propriety.\u003c/p>\n\u003cp>Three films star or are about legendary actress Ruan Lingyu, a champion of Shanghai cinema’s tragic, modern woman.These films feature single mothers down on their luck, but who envision themselves as part of an emerging class of independent women. They also clearly and unromantically illustrate the limitations of women during this time, who for all their self reliance and self-determination, had very few options available to them.\u003c/p>\n\u003cp>Wu Yonggang’s 1934 silent film, \u003ci>The Goddess\u003c/i>, was originally conceived as an oil painting, inspired by both the misery and steely resolve of the prostitutes the director often passed on his way to work. The film, featuring Ruan Lingyu, reveals the woman’s struggle to survive and provide for her child as a virtuous one that brings its own unending stream of sorrows, including a mobster who stalks her and claims her as his property. Ruan’s classic move here is a look upwards to a Shanghai skyline that continually dims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/06/newwomen.jpg\">\u003cbr>\u003ci>New Women\u003c/i>\u003c/p>\n\u003cp>Bleak narratives showing both the strengths and limitations of women, these films also champion virtuous mothers, who remain moral champions even when steeped in vice. In Cai Chusheng’s \u003ci>New Women\u003c/i> (1935) – one of Ruan Lingyu’s final films — the actress plays Wei Ming, a well-liked schoolteacher and burgeoning writer. But the settings for optimism have little place in a cinema of stark, disappointing reality. \u003ci>The Goddess\u003c/i> and \u003ci>New Women\u003c/i>, staples of Chinese cinema, have already etched out their thesis: Women — no matter how smart, accomplished, and independent they may be — are eventually reduced to their value and usefulness to men.\u003c/p>\n\u003cp>It’s the very men who long to be with her that end up being catalysts for her eventual demise. Wei Ming shrugs off the advances of a rich (and married) banker and also those of a potential newspaper employer, who later publishes an article exposing her shame. But beset by financial woes and an ailing (and secret) daughter, she finds that, in choosing the path of independence and self-sufficiency, she has very few options. Prostitution is her next move, and it’s one of desperation. New Women are, in this film, much the same as old women: fodder for men, whether it be for their highly anticipated book sales, or for their sensational news clips.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/06/centerstage.jpg\">\u003cbr>\u003ci>Center Stage\u003c/i>\u003c/p>\n\u003cp>Ruan’s suicide at the height of her career – and only months after her onscreen suicide in \u003ci>New Women\u003c/i> — forever cemented her in memory as a star. Her life and times get the biopic treatment in Stanley Kwan’s \u003ci>Center Stage\u003c/i> (1992), starring Maggie Cheung. It’s an unconventional, Modernist biography — one that features documentary interviews with Ruan’s contemporaries, reenacted scenes, original film footage, and modern-day discussions with the actors portraying her and her contemporaries, discussing her motivations and life behind the scenes.\u003c/p>\n\u003cp>While the series is one focused on the role women play in Chinese cinema, Kwan’s film broadens the discussion, illuminating the role Ruan Lingyu played not only on screen, but in her real life, and in our imaginations, as a legend. It’s one that, not unlike her characters, was as a woman perpetually running away from men.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/06/moodforlove.jpg\">\u003cbr>\u003ci>In the Mood for Love\u003c/i>\u003c/p>\n\u003cp>The series includes two additional films, \u003ci>In the Mood for Love\u003c/i> and \u003ci>The Arch\u003c/i>, staples and beloved films of Chinese Cinema. Wong Kar Wai’s universally acclaimed 2000 work, \u003ci>In the Mood for Love\u003c/i>, also stars Maggie Cheung, alongside Tony Leung Chiu Wai. Along with \u003ci>The Arch\u003c/i>, a 1969 precursor to the Hong Kong New Wave style, both films chronicle the silent sorrow of women trapped by their propriety. These women, unlike Ruan Lingyu’s characters, are not women saddled with poverty, or forced into prostitution, but like those women, they live as though they were born to bear their pain in silence. Their world, too, is a world of philandering men, one spent waiting to be given permission to experience life to the fullest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Beauty and Sacrifice: Images of Women in Chinese Cinema\u003c/b> runs through December 8, 2013 at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/beautyandsacrifice\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Young Ginsberg Finds His Voice in 'Kill Your Darlings'",
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"content": "\u003cp>In dramatic retellings involving the Beat Generation, drugs, sexual exploration and a passion for poetry make up a large chunk of the narrative pyrotechnics, churning out predictable reimaginings of an — at the time — unpredictable revolution. But the true origins of the Beat crew may be darker and more dire than most audiences are aware. With \u003ci>Kill Your Darlings\u003c/i>, his debut feature, director John Krokidas delves into the real events leading to a murder that both broke apart and shaped the Beats as we know them today.\u003c/p>\n\u003cp>Selected for both the Toronto International Film Festival and Sundance, \u003ci>Kill Your Darlings\u003c/i> features a cast of actors playing the younger, lesser-portrayed versions of the Beats: Imagine here an awkward, green and dutiful Allen Ginsberg, played surprisingly — and convincingly — by Daniel Radcliffe.\u003c/p>\n\u003cp>Though rooted in San Francisco history, the Beat Generation’s origins are in New York; \u003ci>Kill Your Darlings\u003c/i> follows Ginsberg’s move from the suburbs of New Jersey — playing the role of a dutiful son to his mentally ill mother (Jennifer Jason Leigh) — to the creative hotbed of New York, where he’s been accepted to study at Columbia. There, he meets the magnetic, flighty, beautiful Lucien Carr (Dane DeHaan), who connects with him over poetry and introduces Ginsberg to the underbelly of 1940’s New York: jazz clubs, marijuana, and parties, during which a masked William Burroughs (Ben Foster) inhales nitrous oxide in a bathtub.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/aEr8Ogdm-3I\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>It’s a lifestyle well suited to Ginsberg, who, in spending time with Carr, begins to grow into his own. That he follows him around like a puppy — alongside his other, long-suffering admirer, David Kammerer (Michael C. Hall) — is Ginsberg’s Achilles’ heel. DeHaan’s portrayal of Carr is as a muse with a magnetic pull that reels in visionary thinkers, yet with little artistic agency of his own. (His college papers are all written by Kammerer on his behalf). But for all of the creative manpower Ginsberg holds, his place in the circle lies directly under Carr’s thumb. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/killdarlings.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>With Lucien orchestrating the movement, Ginsberg, Burroughs and a “discovered” Jack Kerouac form “The New Vision,” a collective that channels its high ideals for art and culture into schoolboy pranks. They rip apart the canon of accepted literature, literally tearing away at expensive volumes; they alter the display case in the university library into a crude exhibition of the human anatomy. Kammerer, ever the spurned lover, looks on jealously from afar.\u003c/p>\n\u003cp>But like with any high, there’s the comedown. The end of this chapter? It concludes in Kammerer’s murder. Whether Lucien murdered an obnoxiously eager ex-lover, or simply defended himself from a crazed stalker is a debate that’s never quite been settled.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lucien-1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Even with the gauzy veneer, the film avoids becoming the standard period piece. And for all the noir-like intrigue, the director himself points to \u003ci>Kill your Darlings\u003c/i> as ultimately a coming-of-age story about college. It’s one that quite aptly captures the headiness of first exploring the previously unexplored, and one that frames a period generally wrapped in nostalgia in a way that feels contemporary. From the modern soundtrack to the free-form camerawork, it taps into the timelessness of adolescent yearning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story behind the casting itself tells of a thoughtful director: Krokidas, who also co-wrote the film, actively sought Radcliffe for the role because of the parallels he saw between the actor’s and Ginsberg’s lives. His idea of the character was of one who’d have much to prove to the world, having played a life-long role he wanted to cast off. With \u003ci>Kill Your Darlings\u003c/i>, we witness that along with Ginsberg, Radcliffe — star of the blockbuster Harry Potter series — shrugs off his former role, too. As Ginsberg learns in poetry class, by “killing your darlings” one is better able to find one’s own voice, and access a greatness festering inside, waiting to be released.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/killdarlings.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>With Lucien orchestrating the movement, Ginsberg, Burroughs and a “discovered” Jack Kerouac form “The New Vision,” a collective that channels its high ideals for art and culture into schoolboy pranks. They rip apart the canon of accepted literature, literally tearing away at expensive volumes; they alter the display case in the university library into a crude exhibition of the human anatomy. Kammerer, ever the spurned lover, looks on jealously from afar.\u003c/p>\n\u003cp>But like with any high, there’s the comedown. The end of this chapter? It concludes in Kammerer’s murder. Whether Lucien murdered an obnoxiously eager ex-lover, or simply defended himself from a crazed stalker is a debate that’s never quite been settled.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lucien-1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>Even with the gauzy veneer, the film avoids becoming the standard period piece. And for all the noir-like intrigue, the director himself points to \u003ci>Kill your Darlings\u003c/i> as ultimately a coming-of-age story about college. It’s one that quite aptly captures the headiness of first exploring the previously unexplored, and one that frames a period generally wrapped in nostalgia in a way that feels contemporary. From the modern soundtrack to the free-form camerawork, it taps into the timelessness of adolescent yearning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story behind the casting itself tells of a thoughtful director: Krokidas, who also co-wrote the film, actively sought Radcliffe for the role because of the parallels he saw between the actor’s and Ginsberg’s lives. His idea of the character was of one who’d have much to prove to the world, having played a life-long role he wanted to cast off. With \u003ci>Kill Your Darlings\u003c/i>, we witness that along with Ginsberg, Radcliffe — star of the blockbuster Harry Potter series — shrugs off his former role, too. As Ginsberg learns in poetry class, by “killing your darlings” one is better able to find one’s own voice, and access a greatness festering inside, waiting to be released.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the works for the past 5 years, The San Francisco Playhouse’s rendition of \u003ci>Bengal Tiger at the Baghdad Zoo\u003c/i> is a tale of grand proportions with a touch of Shakespearean drama. Written by Rajiv Joseph, the Pulitzer Prize finalist delves into the otherworldly and absurd, with a bent towards the fantastical: Here, ghosts beget ghosts, and a golden toilet seat stands in as a holy grail in the middle of the desert.\u003c/p>\n\u003cp>Directed by Bill English, \u003ci>Bengal Tiger\u003c/i> takes place during the 2003 invasion of Iraq, in the least likely of locales: the Baghdad Zoo. Two American Marines with little else to do but complain — and boast — about their time on active duty stand guard at the cage of a starving tiger (Will Marchetti). A hungry animal, two bored men: The trappings are all there. All the story needs is for someone to do something stupid.\u003c/p>\n\u003cp>Naturally, the events at large are triggered by boredom and a lapse in judgment. With little else to occupy him, one Marine — a foolhardy Tom (Gabriel Marin) — taunts the animal with a Slim Jim. Things pick up after that: His hand gets bitten off.\u003c/p>\n\u003cp>Playwright Joseph’s world is one of great philosophical and metaphorical weight, and like the laws of science, in which every action has a reaction, his world has its own laws of justice, too, where every misdeed calls for punishment. The tiger gets shot, by way of Tom’s gold-plated gun, one he looted during a raid of the Hussein family home.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bengal3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Night raid goes crazy (Pomme Koch, Sarita Ocon, Kuros Charney and Craig Marker).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If that wasn’t already a clue, the cast of characters is an unsavory one: There’s Craig Marker’s Kev, a dim-witted Marine armed with a dangerous sense of self-importance and duty. His ineptitude is tempered, in that he usually defers to the domineering Tom: greedy, threatening, and now owner of a bionic hand. Both characters share the stage with their interpreter, Musa, played to great effect by Kuros Charney — a local Iraqi and former gardener who, with the pending withdrawal of American forces, once again foresees his loss of employment and is pushed to seek other avenues of self-determination. Naturally, things end violently.\u003c/p>\n\u003cp>But what of the tiger? Now dead, his ghost is stuck in limbo (though, forced to roam the streets of war-torn Baghdad, he might as well be in Hell). Death has a way of making one wax philosophical, and we’re witness to the animal’s inner struggle to grasp his life’s meaning and worth. He grapples with the legacy and guilt of his very existence, where, he says, each meal was precipitated by a cruel act of preying upon the young, the sickly, and the weak. Why, he asks, would he be punished by a god that created a predator?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bengal1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Tiger (Will Marchetti) talks to God. \u003c/p>\n\u003cp>The tiger walks not only the streets and gardens of the city, but also cycles through Kev’s overactive imagination, haunting his memory and driving him to face — and succumb to — his guilt for killing it. Joseph’s argument is clear: Here, when things die, they don’t necessarily go away. Out of its cage, the tiger is not yet free, at least from the pull and memory of the life he’s lived. Never having lived in one, neither is Kev.\u003c/p>\n\u003cp>While \u003ci>Bengal Tiger\u003c/i> employs the American invasion of Iraq as the backdrop to the narrative, the invasion itself isn’t exactly the focus of the play. The sweeping set-up of war, death, and ghosts are less an excuse for politicized commentary, but more accurately provide a particularly severe framework for Joseph’s characters to further examine the contradictory nature of themselves, their guilt, and their imprisonment in a deprived, and raw, set of circumstances. \u003ci>Bengal Tiger\u003c/i> is ultimately about the cages we find ourselves in — ones solidified both in our mind and by the forces at large — and the way we choose to remember. War, here, too, is its own prison, one among many.\u003c/p>\n\u003cp>It’s not to say that there isn’t any critique on war \u003ci>as an idea\u003c/i>: Joseph lays bare the hypocrisy involved in being charged to protect civilians of a country you occupy, most bluntly when Kev yells, “We are here to help!” to a terrified couple facing the end of his military rifle. (It’s not all that different from killing a tiger you’re meant to guard.) \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bengal2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Hadia (Livia Demarchi) is taken into garden by Uday Hussein (Pommes Koch). \u003c/p>\n\u003cp>But while his characters contemplate how much responsibility they bear for their actions, they are, as Joseph points out, not very independent at all — all created in some fashion either by their circumstances or their maker (whether it be God or the Marines). No one here is a full-fledged villain, except, perhaps, Saddam Hussein’s son, Uday (played by a particularly convincing and frightening Pomme Koch). More alarming than his incessant stream of cruelty, though, is the terrors seemingly normal persons in extraordinary circumstances can inflict while on a fool’s errands, unaware of how thoughtlessly they contribute to the larger forces of war. The search for a golden toilet seat and a gold-plated gun, both pilfered from Hussein’s home during the raid, are the major instigators of death and loss in this play. By the end of the second act, they hold little importance to anyone.\u003c/p>\n\u003cp>\u003ci>Bengal Tiger at the Baghdad Zoo\u003c/i> runs through November 16, 2013 at The San Francisco Playhouse. For \u003ca href=\"http://sfplayhouse.org/sfph/bengal-tiger-baghdad-zoo/\">tickets and information\u003c/a>, visit sfplayhouse.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Photos by Jessica Palopoli.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If that wasn’t already a clue, the cast of characters is an unsavory one: There’s Craig Marker’s Kev, a dim-witted Marine armed with a dangerous sense of self-importance and duty. His ineptitude is tempered, in that he usually defers to the domineering Tom: greedy, threatening, and now owner of a bionic hand. Both characters share the stage with their interpreter, Musa, played to great effect by Kuros Charney — a local Iraqi and former gardener who, with the pending withdrawal of American forces, once again foresees his loss of employment and is pushed to seek other avenues of self-determination. Naturally, things end violently.\u003c/p>\n\u003cp>But what of the tiger? Now dead, his ghost is stuck in limbo (though, forced to roam the streets of war-torn Baghdad, he might as well be in Hell). Death has a way of making one wax philosophical, and we’re witness to the animal’s inner struggle to grasp his life’s meaning and worth. He grapples with the legacy and guilt of his very existence, where, he says, each meal was precipitated by a cruel act of preying upon the young, the sickly, and the weak. Why, he asks, would he be punished by a god that created a predator?\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bengal1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Tiger (Will Marchetti) talks to God. \u003c/p>\n\u003cp>The tiger walks not only the streets and gardens of the city, but also cycles through Kev’s overactive imagination, haunting his memory and driving him to face — and succumb to — his guilt for killing it. Joseph’s argument is clear: Here, when things die, they don’t necessarily go away. Out of its cage, the tiger is not yet free, at least from the pull and memory of the life he’s lived. Never having lived in one, neither is Kev.\u003c/p>\n\u003cp>While \u003ci>Bengal Tiger\u003c/i> employs the American invasion of Iraq as the backdrop to the narrative, the invasion itself isn’t exactly the focus of the play. The sweeping set-up of war, death, and ghosts are less an excuse for politicized commentary, but more accurately provide a particularly severe framework for Joseph’s characters to further examine the contradictory nature of themselves, their guilt, and their imprisonment in a deprived, and raw, set of circumstances. \u003ci>Bengal Tiger\u003c/i> is ultimately about the cages we find ourselves in — ones solidified both in our mind and by the forces at large — and the way we choose to remember. War, here, too, is its own prison, one among many.\u003c/p>\n\u003cp>It’s not to say that there isn’t any critique on war \u003ci>as an idea\u003c/i>: Joseph lays bare the hypocrisy involved in being charged to protect civilians of a country you occupy, most bluntly when Kev yells, “We are here to help!” to a terrified couple facing the end of his military rifle. (It’s not all that different from killing a tiger you’re meant to guard.) \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bengal2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Hadia (Livia Demarchi) is taken into garden by Uday Hussein (Pommes Koch). \u003c/p>\n\u003cp>But while his characters contemplate how much responsibility they bear for their actions, they are, as Joseph points out, not very independent at all — all created in some fashion either by their circumstances or their maker (whether it be God or the Marines). No one here is a full-fledged villain, except, perhaps, Saddam Hussein’s son, Uday (played by a particularly convincing and frightening Pomme Koch). More alarming than his incessant stream of cruelty, though, is the terrors seemingly normal persons in extraordinary circumstances can inflict while on a fool’s errands, unaware of how thoughtlessly they contribute to the larger forces of war. The search for a golden toilet seat and a gold-plated gun, both pilfered from Hussein’s home during the raid, are the major instigators of death and loss in this play. By the end of the second act, they hold little importance to anyone.\u003c/p>\n\u003cp>\u003ci>Bengal Tiger at the Baghdad Zoo\u003c/i> runs through November 16, 2013 at The San Francisco Playhouse. For \u003ca href=\"http://sfplayhouse.org/sfph/bengal-tiger-baghdad-zoo/\">tickets and information\u003c/a>, visit sfplayhouse.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Photos by Jessica Palopoli.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Based on her own post-college experience, Lena Dunham’s new film \u003cb>Tiny Furniture\u003c/b> is proof that life — even a virtually-unemployable year-long slump — really is art. Or, at least, it makes for some good material.\u003c/p>\n\u003cp>Winner of South By Southwest’s Narrative Feature Award, \u003cb>Tiny Furniture\u003c/b> follows Aura (Dunham), a recent Ohio college grad who’s just moved back into her family’s TriBeCa loft. Her arrival is met with the disinterest of her mother (Laurie Simmons) — who seems more invested in her work than Aura’s return — and sister (Grace Dunham), who asks, “How long are you going to be staying in our house?”\u003c/p>\n\u003cp>But the situation’s only temporary — you know, just until things pick up. Or, at least, that’s the plan. Aura’s just been dumped by a long-term boyfriend who’s left to “build a shrine to his ancestors;” neglected by family and with friends nearly all gone, one of her few comforts is the following she’s drummed up (400 views and counting) from her YouTube videos of a chubby girl stripping in a fountain. She is the chubby girl.\u003c/p>\n\u003cp>Re-friended by a childhood playmate she has avoided for the past few years, Aura is subject to the egging-on of the frivolous and fabulous Charlotte (Jemima Kirke). She also hosts a love interest-cum-apartment leach (Alex Karpovsky) and grapples with the hot-and-cold advances of a very hot sous chef (David Call) — sometimes seeming to be at the mercy of the bullying personalities around her. \u003c/p>\n\u003cp>\u003cimg>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though it’s easy to take advantage of her agreeable nature, Aura’s no wallflower. An unassuming wit and incredible charm make what could be a pitiable character one that’s a downright relatable — and extremely friendable — heroine. Dunham’s performance channels the sincerely pathetic, balancing droll physicality (emphasis on the weight) and endearing imprudence at the same time. \u003c/p>\n\u003cp>Dunham has managed to write a script that exhibits a pitch-perfect understanding of the ironic humor, confusion and desperation of post-graduate life. Bolstered by cinematographer Jody Lee Lipes’ extensive use of long shots, \u003cb>Tiny Furniture\u003c/b> successfully represents the extremely personal without becoming too sentimental. The film, too, portrays Aura without ever judging or championing the character, willing to let her simply be.\u003c/p>\n\u003cp>\u003cb>Tiny Furniture\u003c/b> is all the more compelling for its strong resemblance to the filmmaker’s own life. While Dunham takes on the role of writer, director and star to the film, other prominent members of the cast are also played by their real-life counterparts. Dunham’s mother and sister play a (not too) fictional rendering of themselves, and Aura’s childhood friend is played by Dunham’s high school classmate. The loft is played by her loft. But what’s laudable is that for a work so heavily focused on Dunham — a starring vehicle featuring a plot that mirrors her own experience — it’s not marked with the self indulgence you’d expect. Instead, it’s an understated and strong work, unafraid to dwell in the embarrassing and refreshingly honest.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=PF_jWPJwKIE&fs=1&hl=en_US]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Tiny Furniture\u003c/b> opens December 10, 2010.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though it’s easy to take advantage of her agreeable nature, Aura’s no wallflower. An unassuming wit and incredible charm make what could be a pitiable character one that’s a downright relatable — and extremely friendable — heroine. Dunham’s performance channels the sincerely pathetic, balancing droll physicality (emphasis on the weight) and endearing imprudence at the same time. \u003c/p>\n\u003cp>Dunham has managed to write a script that exhibits a pitch-perfect understanding of the ironic humor, confusion and desperation of post-graduate life. Bolstered by cinematographer Jody Lee Lipes’ extensive use of long shots, \u003cb>Tiny Furniture\u003c/b> successfully represents the extremely personal without becoming too sentimental. The film, too, portrays Aura without ever judging or championing the character, willing to let her simply be.\u003c/p>\n\u003cp>\u003cb>Tiny Furniture\u003c/b> is all the more compelling for its strong resemblance to the filmmaker’s own life. While Dunham takes on the role of writer, director and star to the film, other prominent members of the cast are also played by their real-life counterparts. Dunham’s mother and sister play a (not too) fictional rendering of themselves, and Aura’s childhood friend is played by Dunham’s high school classmate. The loft is played by her loft. But what’s laudable is that for a work so heavily focused on Dunham — a starring vehicle featuring a plot that mirrors her own experience — it’s not marked with the self indulgence you’d expect. Instead, it’s an understated and strong work, unafraid to dwell in the embarrassing and refreshingly honest.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PF_jWPJwKIE'\n title='//www.youtube.com/embed/PF_jWPJwKIE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Tiny Furniture\u003c/b> opens December 10, 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Friday was the second night of \u003cb>Caligari\u003c/b>, HurlyBurly Productions’ stage performance of the 1920s German Expressionist film \u003cb>The Cabinet of Dr. Caligari\u003c/b>. Famous for its color-tinted frames, painted sets and severe camera angles, the silent film follows Francis, who with his best friend, Alan, finds himself at the local fair in Holstenwall. There, the main attraction is a somnambulist named Cesare who can predict the future. His master — Dr. Caligari — eggs on the audience members inside his tent, goading them to “Judge for yourselves,” which prompts Alan to jokingly ask: “How long do I have to live?” Apparently, he has until tomorrow.\u003c/p>\n\u003cp>When Alan dies, the finger points damningly at Cesare, and by extension, Dr. Caligari. Francis pursues an investigation of the two with the help of his fiancee, Jane who is later kidnapped by Caligari. But of course, she’s beautiful, and naturally, the frighteningly ugly somnambulist is touched by her beauty to the point of immobility, and soon thereafter dies.\u003c/p>\n\u003cp>Caligari is no typical carnie, and Francis discovers that this Doctor is actually the director of the local insane asylum. But — spoiler! — Francis actually relates the tale from the confines of the ward in which he, Jane, and Cesare are imprisoned. Caligari is a doctor in the asylum. \u003ci>Or is he\u003c/i>? Ambiguity abounds.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=hTrB2q-P_rE&fs=1&hl=en_US]\u003c/p>\n\u003cp>A liberal adaptation, HurlyBurly Productions’ \u003cb>Caligari\u003c/b> is more concerned with emotional presence than story. This is no venture for the plot-minded, as the production eschews rigid loyalty to the source material. Four years in the making, the play functions as an experimental exercise in recreating the film’s expressionist world of shadows and instability.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Daniel Korth and Mikka Bonel’s re-imagining of the \u003cb>The Cabinet of Dr. Caligari\u003c/b>, the audience is ushered into a dimly lit space, where two platforms stand on either end of the room. Cast members stand still as mannequins, regaled in makeup that recalls German expressionist clowns. Able-bodied audience members are expected to stand, milling between actors, who are enclosed in mini cells and hanging cages attached to the ceiling.\u003c/p>\n\u003cp>\u003cimg>\u003c/p>\n\u003cp>As the carnival leader addresses the audience in the play’s opening prologue, he walks through the crowd, forcing members to move out of his swerving path. In viewing the spectacle, I felt that I had become part of the crowd in the film, who stand under the carnival tent waiting for Dr. Caligari to reveal his somnambulist. We, too, were waiting, an intense expectation and suspense overwhelming the room. “Your ears will be hungry, your eyes will want more,” the leader says.\u003c/p>\n\u003cp>It’s true, your eyes will want more — because all too often the lighting disappears into pitch black, as the play proves an exercise in mood and ambiance. Much of the lighting is provided by the actors themselves, pointing flashlights at other cast members, or via lights on the brims of their hats.\u003c/p>\n\u003cp>Disorienting, spastic, and often times unnerving, at times the lack of plot and raving-mad ramblings of the inmates can be unintelligible. Many events are narrated rather than shown, and the play — performed in vignettes — is just as disjointed as the thoughts of its characters, all of whom straddle the border between sanity and madness. The production revolves mainly around major events from the \u003cb>The Cabinet of Dr. Caligari \u003c/b> — Francis’s courting of Jane, the murders — and mashes up different techniques and acting styles: Francis channels a sincere realism; Jane, a detached, semi-psychotic teasing; and Cesare, a mute, stifling presence.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cesarekills.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Presence plays largely into the production, concerned with allowing the audience to “lose themselves in the dark expressionist world,” and constantly reminding us of our own role within the play. During blackouts, the only perceivable sound was the rustling of the others in the crowd, the confines of the space and my own trapped nature became exceedingly palpable — the stage became my ward. There was a moment, during the prologue, when an actor spoke straight into the face of another audience member, who, unnerved, couldn’t contain a silly grin. For the duration of the play it seems, we, too, are located within the psychiatric ward, and we’re made to see — that we’re all a little crazy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Caligari\u003c/b> runs through December 10, 2010 at Studio 385. For \u003ca href=\"http://jointhehurlyburly.org/\">tickets and information\u003c/a> visit jointhehurlyburly.org.\u003c/p>\n\n",
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"excerpt": "A liberal adaptation of the silent film classic \u003cb> The Cabinet of Dr. Caligari\u003c/b>, HurlyBurly Productions' \u003cb>Caligari\u003c/b> is more concerned with emotional presence than story.",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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