by Alfred Hayes
New Masses, May 1934
Into the streets May First!
Into the roaring Square!
Shake the midtown towers!
Shatter the downtown air!
Come with a storm of banners,
Come with an earthquake tread,
Bells, hurl out of your belfries,
Red flag, leap out your red!
Out of the shops and factories,
Up with the sickle and hammer,
Comrades, these are our tools,
A song and a banner!
Roll song, from the sea of our hearts,
Banner, leap and be free;
Song and banner together,
Down with the bourgeoisie!
Sweep the big city, march forward,
The day is a barricade;
We hurl the bright bomb of the sun,
The moon like a hand grenade.
Pour forth like a second flood!
Thunder the alps of the air!
Subways are roaring our millions –
Comrades, into the square!
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Granma | 05 April, 2017
On receiving the Golden Globe for Best Actress in a Drama, for her performance in the film Elle, Isabelle Huppert noted: “There are people from all over the world here in this room from China to the Arabic world, from America to Europe. Do not expect cinema to build walls and borders.” Photo: http://www.unesco.org
“TO be or not to be, that is the question.” This is probably the most famous phrase in theater history, pronounced by Hamlet, Prince of Denmark, in a soliloquy in the first scene of the third act of William Shakespeare’s homonymous tragedy.
It is natural to recall it now, on the occasion of the celebrations for World Theater Day, established in 1961 on a UNESCO proposal, as a tribute to the inauguration in Paris on March 27, 1948, of the International Theater Institute (ITI), which brings together representatives from all countries of the world.Read More »
by JANE CLINTON
A SMALL silk buttonhole, a pamphlet on how to avoid arrest and a petition for women to sit their medical degree exams.
These are just some of the objects on display at the Radical Voices exhibition at Senate House Library in the University of London charting how protest has been expressed over the past two centuries.
Including petitions, photographs, posters, songs, poetry, book collections, political cartoons, badges and ephemera, it is a rich analysis of the voices that have spoken out and have often forced change.
There’s a James Gillray cartoon dating 1807 — the oldest item on show — along with much more recent items such as a 2003 Stop the War poster and literature printed by Occupy Design in 2012 as part of the occupation at St Paul’s cathedral.Read More »
Review by Susan Darlington
Morning Star | 02 November, 2016
Lawrence Batley Theatre, Huddersfield
Staged to mark the 30th anniversary of the miners’ strike, COAL is a reworking of a piece originally conceived by Gary Clarke in 2009.
His decision to expand the dance theatre production is only partly warranted, as several sections would benefit from editing.
It opens with a confusing slice of domesticity that sits uncomfortably with live music from The Brighouse & Rastrick Band.
And a party that has a community cast handing out biscuits to the audience does little more than create a warm-hearted interlude that splinters the narrative.Read More »
by Abhijit Ghosh-Dastidar
Frontier | Vol. 49, No.13-16, Oct 2 – 29, 2016
The Cinematic gaze chases images, and devises ways of seeing the real. Production details aim to explore every gesture of the world around. Visionary pragmatism, perspectives and methods adjust to the demands of each story and theme.
‘‘Arabian Nights, Vol I, II and III’’ (Portugal / France, Portuguese, colour, 381 mins) by Miguel Gomes is shot between 2013 and 2014. Anguish stems from the crumbling Portuguese society, under a heavy austerity burden, imposed by European Financial Institutions. Gomes uses Scheherazade’s ‘‘Thousand and One Nights’’, to weave together several tales. The mechanical oriental prose remains a tapestry to the fiction and non-fiction stories.Read More »
Granma | 11 April, 2016
The pas de deux by Carmen (Laura Treto) and Don José (Javier Rojas) was one of the highlights of Carlos Acosta’s version of Carmen. Photo: Yander Zamora
Carlos Acosta, world ballet star, opted for a selection of contemporary pieces for the premiere in Havana (April 8) of his company, Acosta Danza, delighting a full house gathered in the Lorca Hall of the Alicia Alonso Grand Theater of Havana.
It could be said that the new director went for a safe bet as the curtains were drawn back on the first piece, Alrededor no hay nada, choreography, costume and lighting by Goyo Montero of Spain, who received a standing ovation.Read More »