Video and pics of the show!
Haydn & Stravinsky/Classic to Neo-Classic L’Histoire du soldat (The Soldier’s Tale) – Stravinsky Part I https://www.youtube.com/watch?v=EDSd8gMQHu8&index=23&list=PLFY6xJid3j9gPtAu7s6KK6YSBerlUWOvE Part II https://www.youtube.com/watch?v=lxVbdBlVIDM&index=24&list=PLFY6xJid3j9gPtAu7s6KK6YSBerlUWOvE
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http://www.libertysymphony.org/web/events.aspx?date=10%2f25%2f2014
Liberty Performing Arts Theatre Liberty, Missouri Saturday, 25 October 2014 - 11:00 AM Haydn & Stravinsky/Classic to Neo-Classic L’Histoire du soldat (The Soldier’s Tale) – Stravinsky Symphony No. 104 – Haydn Presenter: Liberty Symphony Orchestra Stravinsky: L'histoire du soldat Artist: Natasha Martin (Narrator) Ensemble: Liberty Symphony Orchestra Conductor: Tony Brandolino We have begun rehearsals for this wonderful piece I am directing at William Jewell College! The cast is already doing a fantastic job of it; practicing their dialects, getting off book, researching the exciting world of 1940's England. I look forward to posting more updates soon.
THEATERLAB TO HOST WORKSHOP BY NATASHA LEE MARTIN Call for actors and participants to attend: Sign up for this FREE workshop on DevisingTheatre from Natasha Lee Martin, a professor at William Jewell College and Theaterlab board member. Sunday, July 27th at 3pm - 5pm Do you have a piece of work, ideas for something (solo piece, scene, group performance) you would like to develop, like constructive feedback or you would like to create a piece together to stretch yourself? You do not have to be an actor to participate. For more info please CLICK HERE Call for actors and participants to attend: I will be offering a FREE workshop on Devising Theatre as part of my faculty development. Do you have a piece of work, ideas for something (solo piece, scene, group performance) you would like to develop, like constructive feedback or you would like to create a piece together to stretch yourself? You do not have to be an actor to participate. We will explore Techniques from Frantic Assembly, Alison Oddey and various modes of improvisation in order to examine the particular working practices and products and a number of ways to approach creating new work. Practical exercises for developing ideas Inspiration for devising, writing and choreographing performance Ideas and exercises for exploration and experimentation of group or solo performance. When: Sunday, July 27 from 3-5:30 pm. The workshop will culminate in a live performance to invited audience at 6:00-7:00 pm. Location: Theaterlab (Main Theater) http://www.theaterlabnyc.com/ Please email contact@natashaleemartin.com directly to reserve a spot or for more information. Facebook event: https://www.facebook.com/events/768470443205024/?ref_newsfeed_story_ I attended a BENEFIT SHOW called WE LOVE KATE this past Sunday at The Cutting Room in NYC! It truly was a fabulous evening including performances by Justin Vivian Bond, Mike Daisey, Carla Rhodes, Glitta Supernova, Jinkx Monsoon & the Major Scales, Amber Martin, the cast of Gertrude Stein Saints, MC Murray Hill, and DJ Sveta! I first met Kate Bornstein when I was cast to portray her, 14 years ago, in her play "Hidden A Gender" at VCU. The original director and dramaturg Noreen Barnes http://arts.vcu.edu/theatre/bio/dr-noreen-c-barnes-phd/ had premiered the play in San Fransico at Theater Rhinocerous. The original cast included Kate and Justin Vivian Bond, http://justinbond.com/ who went on to develop and tour the original show "Kiki and Herb" and "The Drift". Noreen suggested we produce it at VCU. I was cast as Al/Kate and immediately panicked. "How would I possibly portray such a dynamic psyche? How would I "transition" physically, spiritually from playing a male gender to female in an authentic performance? Noreen suggested that I call Kate in New York and chat with her. I remember like it was yesterday the moment when she answered the phone. I was so nervous that I was shaking. ***************************************************************************************************** "Helloooo?" Um...hi...Kate? "Yesss" This is Natasha, um er, a student of Noreen's at VCU. I was cast in your show to play you, and uh well, I was wondering if you have any advice? I would really appreciate any guidance on how you think you should be portrayed? "Oh, I am so glad you called. Yes, I would just remember to be yourself in the role. as an actor playing me use your own intuition, just follow your inner voice. Don;t worry about it you will be amazing...I don't even know how to play me dear." ******************************************************************************************************* It was the first time my mother, (rest in peace ma) saw me don a strap-on onstage and it wouldn't be the last. It was to this day one of my favorite roles as an actor I have had the good fortune to perform. I went on to interview her at length about her time growing up, babbled about how fascinated I was that her voice sounded so "female" on the phone and asked about vocal choices transitioning from AL to Kate. She was so gracious, patient and generous. I remember feeling like I was the only person in the world that day. She has this ability to do that, to make you truly feel like you have the gift. She told me about her new show "Two Tall Blondes" and book she was working on, a sort of next phase to Gender Outlaw. She would go on to pen many more works; Hello Cruel World, Live Through This and A Queer and Pleasant Danger her most recent and raw masterpiece. She has given so many in the LGBT community, particularly youth, a reason to go on, who otherwise would've long given up the struggle. Now we must answer the call to give back to her after all, isn't that what we are here for? To learn more about Kate and her work: http://katebornstein.typepad.com/ To donate funds for her much needed cancer treatments: http://www.gofundme.com/2cxb6w Saturday, June 28 at 7:00pm - 10:00pm in EDT
Shetler Studios & Theatres 244 W 54th St, New York, New York 10019 A benefit for: Confessions of a Synesthetic Sailor; An Interactive Journey Into High Seas Written and Performed by Natasha Lee Martin When: Please join us on Saturday June 28 from 7-10 pm Ticket price of $25 includes an open bar of selected wines, beer and other fine fare, music, performances and a raffle for goodies throughout the evening. Where: Shetler Studios 12 th floor Penthouse 1 244 West 54th St (Between Broadway & 8th Ave) 212-246-6655 Please feel free to purchase tickets now, as this benefit will fill up quickly! For more info about this project and to purchase tickets or just donate funds, please visit: http://www.brownpapertickets.com/event/712404 https://www.facebook.com/events/1438033683118686/?ref_dashboard_filter=upcoming I had the pleasure of collaborating with Lucio Menegon on the premiere production of the solo show I wrote "Confessions of a Synesthetic Sailor; An Interactive Journey Into High Seas" when it opened last June produced at JACK, NYC. Lucio jumped in full steam and navigated uncertain waters with me like a pro. It was such an incredible, at times very challenging improvisational collaboration. Lucio helped me to create both original songs and re-envision old sea chanties into different genres. He also devised an original soundscape for the show which he played on his guitar from the time the audience entered the theater.. I valued his input, guidance and pure faith and belief in my work, I don’t think the show would be developed so much sonically if it were not for his efforts. I am so thrilled for him to join me again on board with the creative team on this the next phase in January 7-11, 2015 at Theaterlab.
BIO Lucio Menegon is a composer, improviser and sonic artist that freely mingles angular riffs, subtle sounds and sheer noise with fucking awesome in-free-fall after jumping out of a capsule at-the-edge-of-space guitar work. His work is rooted in old blues, country, punk rock, surf, spaghetti western soundtracks and has been described as Morricone composing surf music on Laudnum…performed at a secret opium den in the basement of CBGB’s. Big city chaos, desert expanses, long drives and forays into ambient textural spaces inform a fusion of traditional song structure and modern improvisation. Sought after as a collaborator and sideman for his creative approach and tasteful tone, Lucio consistently contributes that elusive something to a composition or moment – appearing on over 50 releases and performing all over the globe with artists such as Kim Boekbinder, Ross Hammond, Amy Denio, Richard Lainhart, Glenn Branca, Rhys Chatham, Edith Frost, Gunnar Madsen, Mark Growden, Joe Rut, Moe! Staiano and Scott Pinkmountain. He is a founding member of the bands Prehistoric Horse, Ramona the Pest, Zebu and The Bodice Rippers and an active participant in the wonderfully incestuous free improvisation music scene. He is a member of the Immersion Composition Society, has a degree in Economics (ie hocus pocus), a sharp eye for photography and loves a good story. He lives in New York City, Joshua Tree CA and spends a fair amount of time on the road. More about Lucio http://kingtone.com/ Agnès Varda: 'Memory is like sand in my hand' in The Beaches of Agnes At 81, Agnès Varda had made a documentary about her own life and her experiences The 'grandmother of the French new wave' talks about her different ports of call in the late 20th-century. "It is at once an illustration of the fine art of foraging and an autobiographical portrait, narrated by its self-described “little old lady, pleasantly plump.” ... Ms. Varda is picking through the world, close to home and far afield, finding images that please her and give her pause ... that she scrutinizes with rue if no obvious regret. But here the emphasis is on her own life and the images and memories that, with time, have blurred together. ... The images are as delightful, unexpected and playfully uninhibited ... At one point, she says she thinks of all men who look at the sea as Ulysses (she’s an aquatic soul), but she’s every bit the wanderer. Whether she’s roving a beach with a camera or rummaging through flea markets, she seeks and finds, gleaning — the word means to collect and examine — what this world of wonders has in store" Manohla Dargis The New York Times "Some of those who have seen the film "They cry about Jacques because many people liked him and they like the love I had for him, and they feel sensitive the pain we had. We separated for a while in the 80s, but we got back together and we wanted to age together – I think people feel the frustration of not being able to do that. I'm ageing alone because I had the pain of losing him and seeing him die. People have experienced that and they know that it can hurt you – but also that life brings you to love life." an old friend. Andrée Vilar's diminishing memory has left her with a single resource: poetry, which she recites all day long. Les feuilles mortes (with translation) par Jacques Prévert. - Agnes Varda C’est une chanson, qui nous ressemble Toi tu m’aimais et je t’aimais Nous vivions tous, les deux ensemble Toi que m’aimais moi qui t’aimais Mais la vie sépare ceux qui s’aiment Tout doucement sans faire de bruit Et la mer efface sur la sable Les pas des amants désunis Oh! je voudrais tant que tu te souviennes Des jours heureux ou nous étions amis En ce temps-la la vie était plus belle, Et le soleil plus brulant qu’aujourd’hui Les feuilles mortes se ramassent a la pelle Tu vois, je n’ai pas oublié… Les feuilles mortes se ramassent a la pelle, Les souvenirs et les regrets aussi Et le vent du nord les emporte Dans la nuit froide de l’oubli. Tu vois, je n’ai pas oublié La chanson que tu me chantais. C’est une chanson qui nous ressemble Toi, tu m’aimais et je t’aimais Et nous vivions tous deux ensemble Toi qui m’aimais, moi qui t’aimais Mais la vie sépare ceux qui s’aiment Tout doucement, sans faire de bruit Et la mer efface sur le sable Les pas des amants désunis. Les feuilles mortes se ramassent a la pelle, Les souvenirs et les regrets aussi Mais mon amour silencieux et fidèle Sourit toujours et remercie la vie Je t’aimais tant, tu étais si jolie, Comment veux-tu que je t’oublie? En ce temps-la, la vie était plus belle Et le soleil plus brulant qu’aujourd’hui Tu étais ma plus douce amie Mais je n’ai que faire des regrets Et la chanson que tu chantais Toujours, toujours je l’entendrai! C’est une chanson qui nous ressemble Toi, tu m’aimais et je t’aimais Et nous vivions tous deux ensemble Toi qui m’aimais, moi qui t’aimais Mais la vie sépare ceux qui s’aiment Tout doucement, sans faire de bruit Et la mer efface sur le sable Les pas des amants désunis. A song like us, birds of a feather, You loving me, me loving you, And we lived happily together, You loving me, me loving you. But life tears apart gentle lovers Who quietly obey their heart, And the sea invades the sand and covers The footsteps of those torn apart. Oh, I would like you so much to remember Those happy days when we were friends, and how Life in those times was more lovely and tender, Even the sun shone more brightly than now. Dead leaves are gathering as in December You see how one never forgets… Dead leaves are gathering as in December, Just like the memories and the regrets. And then the north wind comes and sweeps them Into oblivion’s icy night. You see how I never forgot That old song that you sang for me. A song like us, birds of a feather, You loving me, me loving you, And we lived happily together, You loving me, me loving you. But life tears apart gentle lovers Who quietly obey their heart, And the sea invades the sand and covers The footsteps of those torn apart. Dead leaves are gathering, dead leaves are piling Up just like memories and like regrets. But still my love goes on quietly smiling Thankful for life and for all that it gets. I loved you so, you were ever so lovely, How can I forget? Tell me how! Life in those times was more sweet and beguiling, Even the sun shone more brightly than now. You were my most sweet friend and lover, But regret just isn’t my thing, And I’ll keep hearing all the time The old song that you used to sing. A song like us, birds of a feather, You loving me, me loving you, And we lived happily together, You loving me, me loving you. But life tears apart gentle lovers Who quietly obey their heart, And the sea invades the sand and covers The footsteps of those torn apart. When I recently came across her work it reminded me of the powerful gravitational pull of our senses and how no matter fleeting their time together, Jacques remains alive through her cross-modal lens and recitation of his words and songs (a sort of lexical synesthesia into emotional recall). Her devotion transcends time and space, through recollection of their shared sense memories together. She grapples with the inner turmoil of the loss at times of their relationship,, which fluctuates between affinity and a weakness for the need to “obey” the heart (and thus "give in" to the sea), which will inevitably drown their footprints. In the film, she creates a magical, spectacle of a world on the beach complete with trapeze artists and circus performers, swinging over the sea. I think this is her way to cope with the grief, instead recasting the ethereal moments spent on the shore together back somehow through affective memory, retreating to a paradise they once knew together.. |
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