U.S. folk musician Jay Ungar composed his Ashokan Farewell in 1982 shortly after violin and dance camps he had been running in Ashokan, New York state, ended for the season.
Money and heroic self-sacrifice have been considered throughout history the rational motivations for risking life. In pandemic lockdown, we’re more aware of that than ever as governments weigh economic damage and national health, while workers battling on the frontline make the ultimate sacrifice.
Psychoanalytic psychotherapist Juliet Rosenfeld published her meditation, as her publicist so aptly describes it, on her own journey from an intellectual understanding to a deep, personal grasp of Freud’s distinction between harrowing grief and the gentler sorrow of mourning in February – when today’s equivalent of Spanish flu had begun to throw wives, husbands, children, lovers across the globe into states of emotion they may never fully process.
For those suffering withdrawal symptoms, Stay at Home with Crazy Coqs is providing a thrice-weekly fix on YouTube as some of its regular artists post recordings from their homes or reissue previous Crazy Coqs performances.
Brontë’s angry classic, which has for decades fired up rebellious, ambitious girls and women, has found new resonance in our self-isolating times as the National Theatre at Home allows another frustrated generation to ponder its lot.
Rachel Donohue’s ambitious young journalist protagonist, driven by a hunger to get to the bottom of a 25-year-old mystery, observes from the sidelines of a meeting of editorial egos: “The stories we told were ancient. But we acted like they were new.”
Léon Spilliaert was an insomniac. He walked a great deal in the dead of night and developed an appreciation of all the shades of darkness that establish the still, silent, brooding atmosphere of his work displayed in a long overdue first British monograph exhibition at the Royal Academy.
by Barbara Lewis • art, design, exhibitions, fashion, history, installations, tapestry, textiles, year 2020 • Tags: art, Barbara Lewis, design, exhibitions, fashion, history, installations, tapestry, textiles •
The risk for any exhibition at Two Temple Place – a glorious late Victorian mansion at Temple, central London – is that the wood carving and stained-glass beauty of the building will steal the show.
The theatrical brilliance of Endgame is thrown into relief by Jones’ decision to precede it with the rarely performed Rough for Theatre II, which Beckett is believed to have written around the same time as Endgame in the late 50s.