‘Play’ of Samuel Beckett by Anthony Minghella, 2000

Play is a play by Samuel Beckett. It was written between 1962 and 1963. This is a version directed by Anthony Minghella for Beckett on Film project. 

Meredith Monk : ELLIS ISLAND, 1981

Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the “Four American Composers” series (1983)

Red Beard, Red Beard at theatre2gennevilliers

‘At times in the grip of my headaches, when the attack reached its height, I experienced an intense desire to make another human being suffer, by hitting them in exactly the same spot on the forehead.’
Simone Weil, La Pesanteur et la grâce

‘The production Red Beard, Red Beard takes place in tandem with Kurosawa’s film Red Beard. The film is shown in Japanese without subtitles, and the actors sit in a line either side of the screen, speaking the dialogue “oratorio” style. They also act out certain parts of the film, which allows them to dub the parts, and to highlight or counterpoint aspects of the action.

In order to maintain the two-way relationship between the ‘live’ action and the film, the film is shown on a small television screen, rather than projected. Stressing the intimate quality of this relationship, the production at Gennevilliers will feature four groups acting simultaneously, each with its own small audience. At times, the four simultaneous performances will melt together and inspire each other, or diverge.

The film strives to offer a way out of the vicious circle of de-spiritualisation described by Simone Weil, in which suffering and victimisation become motives for the infliction of greater suffering and victimisation. How do you break the circle of suffering, just at the moment when things have reached their most unbearable, their most despairing?’

John Malpede

Come. See. Experience.

Come. See. Experience. by Pawel Althamer,
Borough Market
30 November 2007
11.30am

Audience Interactivity in Cinema, Games, Theatre and TV

in lONdon, the light is on and somebody is home.

Interactivity is a buzzword across all visual media at the moment with new technologies providing opportunities to involve audiences in the creation and production of multi-platform narratives that enter their lives as never before. So, what does interactivity mean and is increased interactivity entirely desirable?
How can you use these new tools to your advantage and the advantage of your work?
This special industry panel event will include film makers, theorists and exhibitors of work in film and video, computer games, theatre and television that has an ‘interactive’ edge or agenda so that we can explore what the term means for different media and whether it is a new phenomenon or an age-old phenomenon in different guises. We will explore whether ‘increased’ interactivity is an advance over more ‘passive’ audience involvement and to what extent the traditional boundaries between cinema, computer games, theatre and television are now breaking down.

Patrick Keiller: The City of the Future

Images: Detail from Booth Poverty Map, Charles Booth collection, LSE Archives

The site of Queensbury station in 2004, with inset from Queensbury Tunnel (Riley Brothers, 1898)

With London (1994), Robinson in Space (1997), and The Dilapidated Dwelling (2000), Patrick Keiller established his reputation as one of the most original film-makers of his generation. Now, for the first time, he presents the multi-screen, installation version of his research project The City of the Future.