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Culture ? Movs.World
?Martial arts initiate spirituality through the body?
?Grand Reporterre?, performance around a trapped debate
W. B. Yeats, poet with an ever-wandering soul
Elza Soares, ?Brazilian singer of the millennium?, dies at 91
Burlesque wrestling between Zionism and Diaspora
From ?Wolves? Pact? to ?Just the end of the world?, the exceptional career of actor Gaspard Ulliel, who died at 37 in an accident
With ?The Tragedy of Macbeth?, Joel Coen plunges into the depths of darkness
at the Maison de Balzac, the artists put to the test of the ?Unknown Masterpiece?
?Tigritudes? or the affirmation of African cinema
Ricardo Bofill, the architect who wanted to ?achieve the impossible?

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                    [title] => ?Martial arts initiate spirituality through the body?
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                            [creator] => Susan Hally
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                    [pubdate] => Sun, 23 Jan 2022 01:14:20 +0000
                    [category] => CultureArtsbodyinitiateMartialspirituality
                    [guid] => https://movs.world/culture/martial-arts-initiate-spirituality-through-the-body/
                    [description] => The Japanese karate team, with Miku Morioka, Suzuka Kashioka and Yoko Kimura, in Paris, in 2012. JACQUES DEMARTHON / AFP Martial arts also offer a path to inner appeasement. This is what Pierre-Yves Albrecht seeks to demonstrate in his recent book Martial Wisdom, published by Phil Aurora, which he founded in 2019. This 77-year-old Swiss ... Read more
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Martial arts also offer a path to inner appeasement. This is what Pierre-Yves Albrecht seeks to demonstrate in his recent book Martial Wisdom, published by Phil Aurora, which he founded in 2019.

This 77-year-old Swiss writer, doctor in anthropology, but also a therapist and philosopher, is interested in the exploration of consciousness (Trances and prodigies, Arma Artis, 2015), as well as the spiritualities of the world (In the heart of the zaouias, Arma Artis, reissue, 2015) and the paths of initiation, which he deals with in particular in his latest book, The Master and the disciple. The initiatory journey (Phil aurora). So many dimensions that the martial arts associate in a gesture with often misunderstood metaphysical resonances.

The title of your book, ?La Sagesse martiale?, associates two words whose everyday language tends to be opposites. How can combat be wisdom?

We often start martial arts with the idea of ??learning to fight. But the more one practices, the more one wonders about the deeper dimensions. This was my case: I started karate at 18, and I had the chance to meet the great master Ohshima [né en 1930, et aujourd?hui âgé de 91 ans], who gave an internship in my Swiss town of Sion. It was a shock.

Meeting and reading great masters makes it possible to grasp the essence of martial arts: the spirituality of gesture. By progressing on the “straight path”, we understand that what is at stake is not the small war, in other words breaking the face of one’s adversary, but the big one, against our internal enemies and our anxieties. Gradually overcoming these obstacles creates a quiet evolution by which peace is made within us. Martial arts therefore initiate a spirituality that passes through the body: little by little the way in which each gesture refers to a celestial meaning is revealed.

How to define martial arts?

Current opinion does not link the martial arts to wisdom. It is generally seen as an art of self-defense through techniques that could save us the day. However, in the Eastern spirit, the martial arts constitute initially a very spiritualized philosophy. For example, the founder of aikido, master Ueshiba (1883-1969), thinks that we fight surrounded by the kami, the invisible deities of Japanese Shintoism.

“The challenge is not the small war, to break the face of your adversary, but the big one, against our internal enemies and our anxieties”

You have 80.04% of this article left to read. The following is for subscribers only.

) [summary] => The Japanese karate team, with Miku Morioka, Suzuka Kashioka and Yoko Kimura, in Paris, in 2012. JACQUES DEMARTHON / AFP Martial arts also offer a path to inner appeasement. This is what Pierre-Yves Albrecht seeks to demonstrate in his recent book Martial Wisdom, published by Phil Aurora, which he founded in 2019. This 77-year-old Swiss ... Read more [atom_content] =>

Martial arts also offer a path to inner appeasement. This is what Pierre-Yves Albrecht seeks to demonstrate in his recent book Martial Wisdom, published by Phil Aurora, which he founded in 2019.

This 77-year-old Swiss writer, doctor in anthropology, but also a therapist and philosopher, is interested in the exploration of consciousness (Trances and prodigies, Arma Artis, 2015), as well as the spiritualities of the world (In the heart of the zaouias, Arma Artis, reissue, 2015) and the paths of initiation, which he deals with in particular in his latest book, The Master and the disciple. The initiatory journey (Phil aurora). So many dimensions that the martial arts associate in a gesture with often misunderstood metaphysical resonances.

The title of your book, ?La Sagesse martiale?, associates two words whose everyday language tends to be opposites. How can combat be wisdom?

We often start martial arts with the idea of ??learning to fight. But the more one practices, the more one wonders about the deeper dimensions. This was my case: I started karate at 18, and I had the chance to meet the great master Ohshima [né en 1930, et aujourd?hui âgé de 91 ans], who gave an internship in my Swiss town of Sion. It was a shock.

Meeting and reading great masters makes it possible to grasp the essence of martial arts: the spirituality of gesture. By progressing on the “straight path”, we understand that what is at stake is not the small war, in other words breaking the face of one’s adversary, but the big one, against our internal enemies and our anxieties. Gradually overcoming these obstacles creates a quiet evolution by which peace is made within us. Martial arts therefore initiate a spirituality that passes through the body: little by little the way in which each gesture refers to a celestial meaning is revealed.

How to define martial arts?

Current opinion does not link the martial arts to wisdom. It is generally seen as an art of self-defense through techniques that could save us the day. However, in the Eastern spirit, the martial arts constitute initially a very spiritualized philosophy. For example, the founder of aikido, master Ueshiba (1883-1969), thinks that we fight surrounded by the kami, the invisible deities of Japanese Shintoism.

“The challenge is not the small war, to break the face of your adversary, but the big one, against our internal enemies and our anxieties”

You have 80.04% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642900460 ) [1] => Array ( [title] => ?Grand Reporterre?, performance around a trapped debate [link] => https://movs.world/culture/grand-reporterre-performance-around-a-trapped-debate/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Sat, 22 Jan 2022 14:14:03 +0000 [category] => CulturedebateGrandperformanceReporterretrapped [guid] => https://movs.world/culture/grand-reporterre-performance-around-a-trapped-debate/ [description] => Journalist Giulia Foïs and director and actor Etienne Gaudillère, during the performance of “Grand Reporterre”, on January 20, 2022, at the Théâtre du Point du Jour, in Lyon. POINT DU DAY THEATER The ” Rule of the game “ is simple and displayed to the attention of the spectators: a director, a journalist, a topical ... Read more [content] => Array ( [encoded] =>

The ” Rule of the game “ is simple and displayed to the attention of the spectators: a director, a journalist, a topical subject, a week of rehearsals. When the curtain opens, Thursday, January 20, at the Théâtre du Point du Jour, on the heights of Lyon, the backstage is covered, in large format, with publications that have recently agitated the public debate: The consent, by Vanessa Springora (Grasset, 2020), the cover of Unbreakable celebrating the musical return of Bertrand Cantat, the “unes” of Release such as “Caesars, the great ditch”, bringing face to face the faces of Roman Polanski and Adèle Haenel, etc.

?Should we separate the man from the artist? ?, will then wonder the young director and actor Etienne Gaudillère and the journalist Giulia Foïs, specialist in feminist questions, in a “breaking news” on sexual violence and the #metoo movement. “It’s more of a performance than a show,” explain Angélique Clairand and Eric Massé, co-directors for three years of the Point du Jour contemporary theater. Anxious to build a program that “question the real”, they had the idea of ??mixing artistic vision and documentary expertise, by asking directors and journalists to compare their views and their temporality. The project is called Grand Reporterre and has been developing, since January 2020, at the rate of two proposals per season.

Anxious to build a program that “questions reality”, the co-directors of Le Point du Jour had the idea of ??mixing artistic vision and documentary expertise.

After looking at civil disobedience, cyberfeminism, non-violent citizen protest movements and the challenges of the energy industries faced with the imperatives of sustainable development, this new Grand Reporterre, fifth of its kind, questions the need to separate the man from the artist and his work. The choice of this subject belongs to Etienne Gaudillère. Artist associated with the Théâtre du Point du Jour, this 30-year-old felt the need to question his position in the face of the multiple media accusations of violence against women.

“When the directors offered me to work on a ‘Grand Reporterre’, a few days later Polanski received the César for best film for J?accuse, during this striking ceremony where Adèle Haenel left the room. I realized that I hadn’t realized the magnitude of the matter,” explains Etienne Gaudillère in the introduction. Then he calls out to the audience: ” Who saw J?accuse by Polansky ? Who refuses to see it? Who thinks nothing should be said until justice has done its job? Who considers that it is necessary to separate the man from the artist or the work from the man? Who says like me: I feel a little lost in all these stories? »

You have 45.27% of this article left to read. The following is for subscribers only.

) [summary] => Journalist Giulia Foïs and director and actor Etienne Gaudillère, during the performance of “Grand Reporterre”, on January 20, 2022, at the Théâtre du Point du Jour, in Lyon. POINT DU DAY THEATER The ” Rule of the game “ is simple and displayed to the attention of the spectators: a director, a journalist, a topical ... Read more [atom_content] =>

The ” Rule of the game “ is simple and displayed to the attention of the spectators: a director, a journalist, a topical subject, a week of rehearsals. When the curtain opens, Thursday, January 20, at the Théâtre du Point du Jour, on the heights of Lyon, the backstage is covered, in large format, with publications that have recently agitated the public debate: The consent, by Vanessa Springora (Grasset, 2020), the cover of Unbreakable celebrating the musical return of Bertrand Cantat, the “unes” of Release such as “Caesars, the great ditch”, bringing face to face the faces of Roman Polanski and Adèle Haenel, etc.

?Should we separate the man from the artist? ?, will then wonder the young director and actor Etienne Gaudillère and the journalist Giulia Foïs, specialist in feminist questions, in a “breaking news” on sexual violence and the #metoo movement. “It’s more of a performance than a show,” explain Angélique Clairand and Eric Massé, co-directors for three years of the Point du Jour contemporary theater. Anxious to build a program that “question the real”, they had the idea of ??mixing artistic vision and documentary expertise, by asking directors and journalists to compare their views and their temporality. The project is called Grand Reporterre and has been developing, since January 2020, at the rate of two proposals per season.

Anxious to build a program that “questions reality”, the co-directors of Le Point du Jour had the idea of ??mixing artistic vision and documentary expertise.

After looking at civil disobedience, cyberfeminism, non-violent citizen protest movements and the challenges of the energy industries faced with the imperatives of sustainable development, this new Grand Reporterre, fifth of its kind, questions the need to separate the man from the artist and his work. The choice of this subject belongs to Etienne Gaudillère. Artist associated with the Théâtre du Point du Jour, this 30-year-old felt the need to question his position in the face of the multiple media accusations of violence against women.

“When the directors offered me to work on a ‘Grand Reporterre’, a few days later Polanski received the César for best film for J?accuse, during this striking ceremony where Adèle Haenel left the room. I realized that I hadn’t realized the magnitude of the matter,” explains Etienne Gaudillère in the introduction. Then he calls out to the audience: ” Who saw J?accuse by Polansky ? Who refuses to see it? Who thinks nothing should be said until justice has done its job? Who considers that it is necessary to separate the man from the artist or the work from the man? Who says like me: I feel a little lost in all these stories? »

You have 45.27% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642860843 ) [2] => Array ( [title] => W. B. Yeats, poet with an ever-wandering soul [link] => https://movs.world/culture/w-b-yeats-poet-with-an-ever-wandering-soul/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Fri, 21 Jan 2022 16:11:22 +0000 [category] => CultureeverwanderingpoetsoulYeats [guid] => https://movs.world/culture/w-b-yeats-poet-with-an-ever-wandering-soul/ [description] => Irish poet William Butler Yeats, the year of his Nobel Prize in Literature, 1923. MARY EVANS PICTURE LIBRARY/PHOTONONSTOP ?Dispersed Loves?, by Maylis Besserie, Gallimard, 194 p., ?18, digital ?13. Deaths and ghosts. These are the characters that run through Maylis Besserie’s second novel. The Scattered Loves Yet there is nothing sinister or frightening about it. ... Read more [content] => Array ( [encoded] =>

?Dispersed Loves?, by Maylis Besserie, Gallimard, 194 p., ?18, digital ?13.

Deaths and ghosts. These are the characters that run through Maylis Besserie’s second novel. The Scattered Loves Yet there is nothing sinister or frightening about it. The ghosts to whom he lets the word express, it is true, their sorrows in a poetic way. And the living that they torment know what they owe them and lend them a benevolent ear. Under the sensitive pen of the writer, the past knocks on the door of the inhabitants of Roquebrune-Cap-Martin (Alpes-Maritimes) with whom it asks to find its place.

The voice of one of the greatest poets in the English language

After a first novel featuring Samuel Beckett (The Third Time, Gallimard, Goncourt prize for the first novel 2020), it is to another Irish writer, also distinguished by the Nobel, that Maylis Besserie pays tribute. Poet and playwright, William Butler Yeats (1865-1939) rises from his grave and sings of his thwarted love for Maud Gonne (1866-1953) whom, in the absence of his wife, he made his muse. ?Maud was the age of Christ on the cross, ready to sacrifice herself for Ireland, he recalls. Indomitable warrior. (?) I threw my verses into this hemiplegic love. Turned away, Maud led me to the hem of suffering on which poetry grows. » It is no coincidence that the voice of one of the greatest poets in the English language is suddenly heard in the village in the south of France where Madeleine lives, quiet but solitary. Yeats was first buried there before the transfer of his bones to his native land, in Sligo, was organized ten years later, after the war.

But does Ireland’s national poet rest where countless admirers and tourists bow when they come to pay their respects? Madeleine, like the other inhabitants of Roquebrune, doubts when she discovers that, in 1939, the poet was deposited in the common grave. Impossible that his body was found ten years later. The remains buried in Ireland are probably those of anonymous deceased from the village, stillborn children, poor, solitary or suicides. No rest possible for these wandering souls having no other choice than to haunt the lives of their descendants without respite.

Oneirism and esotericism

Organizing the dialogue of the living and the dead, of bodies, spirits and souls, Maylis Besserie draws from the biography and work of Yeats the material for an investigation that could be described as psychogenealogical. But if she takes the paths of fantasy and esotericism to lead it, her writing remains elegantly clear. The trip to Ireland undertaken by the villagers of Roquebrune to demand the exhumation of the poet’s body and to plead the cause of their deceased is only a pretext, we quickly feel it. A way to set the writing in motion, to marry its rhythm and to rely on the happy coincidences of its discoveries.

You have 20.54% of this article left to read. The following is for subscribers only.

) [summary] => Irish poet William Butler Yeats, the year of his Nobel Prize in Literature, 1923. MARY EVANS PICTURE LIBRARY/PHOTONONSTOP ?Dispersed Loves?, by Maylis Besserie, Gallimard, 194 p., ?18, digital ?13. Deaths and ghosts. These are the characters that run through Maylis Besserie’s second novel. The Scattered Loves Yet there is nothing sinister or frightening about it. ... Read more [atom_content] =>

?Dispersed Loves?, by Maylis Besserie, Gallimard, 194 p., ?18, digital ?13.

Deaths and ghosts. These are the characters that run through Maylis Besserie’s second novel. The Scattered Loves Yet there is nothing sinister or frightening about it. The ghosts to whom he lets the word express, it is true, their sorrows in a poetic way. And the living that they torment know what they owe them and lend them a benevolent ear. Under the sensitive pen of the writer, the past knocks on the door of the inhabitants of Roquebrune-Cap-Martin (Alpes-Maritimes) with whom it asks to find its place.

The voice of one of the greatest poets in the English language

After a first novel featuring Samuel Beckett (The Third Time, Gallimard, Goncourt prize for the first novel 2020), it is to another Irish writer, also distinguished by the Nobel, that Maylis Besserie pays tribute. Poet and playwright, William Butler Yeats (1865-1939) rises from his grave and sings of his thwarted love for Maud Gonne (1866-1953) whom, in the absence of his wife, he made his muse. ?Maud was the age of Christ on the cross, ready to sacrifice herself for Ireland, he recalls. Indomitable warrior. (?) I threw my verses into this hemiplegic love. Turned away, Maud led me to the hem of suffering on which poetry grows. » It is no coincidence that the voice of one of the greatest poets in the English language is suddenly heard in the village in the south of France where Madeleine lives, quiet but solitary. Yeats was first buried there before the transfer of his bones to his native land, in Sligo, was organized ten years later, after the war.

But does Ireland’s national poet rest where countless admirers and tourists bow when they come to pay their respects? Madeleine, like the other inhabitants of Roquebrune, doubts when she discovers that, in 1939, the poet was deposited in the common grave. Impossible that his body was found ten years later. The remains buried in Ireland are probably those of anonymous deceased from the village, stillborn children, poor, solitary or suicides. No rest possible for these wandering souls having no other choice than to haunt the lives of their descendants without respite.

Oneirism and esotericism

Organizing the dialogue of the living and the dead, of bodies, spirits and souls, Maylis Besserie draws from the biography and work of Yeats the material for an investigation that could be described as psychogenealogical. But if she takes the paths of fantasy and esotericism to lead it, her writing remains elegantly clear. The trip to Ireland undertaken by the villagers of Roquebrune to demand the exhumation of the poet’s body and to plead the cause of their deceased is only a pretext, we quickly feel it. A way to set the writing in motion, to marry its rhythm and to rely on the happy coincidences of its discoveries.

You have 20.54% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642781482 ) [3] => Array ( [title] => Elza Soares, ?Brazilian singer of the millennium?, dies at 91 [link] => https://movs.world/culture/elza-soares-brazilian-singer-of-the-millennium-dies-at-91/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Fri, 21 Jan 2022 05:10:33 +0000 [category] => CultureBraziliandiesElzamillenniumsingerSoares [guid] => https://movs.world/culture/elza-soares-brazilian-singer-of-the-millennium-dies-at-91/ [description] => Elza Soares, September 29, 2019, at the Rock in Rio festival, in Brazil. MAURO PIMENTEL / AFP Brazilian song diva Elza Soares died Thursday, January 20, at the age of 91. “natural causes” in his residence in Rio de Janeiro, announced his press service on the artist’s Instagram account. With more than thirty records to ... Read more [content] => Array ( [encoded] =>

Brazilian song diva Elza Soares died Thursday, January 20, at the age of 91. “natural causes” in his residence in Rio de Janeiro, announced his press service on the artist’s Instagram account.

With more than thirty records to her credit in more than sixty years of career, the black artist with her characteristic hoarse timbre was considered one of the greatest voices in Brazilian song. In 1999, the BBC crowned her “Brazilian singer of the millennium”.

“Icon of Brazilian music, considered one of the greatest artists in the world, the sacred singer “Voice of the Millennium” had an extraordinary, intense life, which moved the world with her voice, her strength and her determination”, states the press release.

Read also Garrincha’s museum

?Everything in my life started wrong?

Born June 23, 1930 into a poor family, Elza Soares has managed throughout her career to evolve with ease in the most diverse environments, from the favela of Agua Santa in the suburbs of Rio, where she grew up, to concert halls around the world.

Samba, jazz, bossa nova and even rock suited the hoarse voice of the singer. At the beginning of his career, it was even thought that this characteristic timbre was due to an anomaly. ?We said that before, but nobody has an extra vocal cord, it’s crazy. She’s twisted, I think she’s twisted, because everything in my life started out wrong”, told the singer in an interview on a Brazilian channel in 2002.

Like her career, the personal life of Elza Gomes da Conceição Soares has alternated joys and dramas. Forced to marry at 12 by her father, she had her first child the following year. At 21, she is already a widow and has given birth to seven children, only five of whom survived.

In financial difficulties ? she had confessed to having stolen food to feed her children ? she decided in 1953 to participate in a radio musical program. When the presenter makes fun of his appearance by asking ?What planet are you from? », she replies curtly: “From the Planet of Hunger”. After his performance, he says: ?Ladies and gentlemen, a star is born?.

?A saxophone in the throat?

In 1962, during the Football World Cup in Chile, where she was invited to be the godmother of the Brazilian team, the American star Louis Armstrong was charmed by the singer and her “saxophone in the throat”. She maintained for seventeen years a relationship that was both fusional and stormy with Garrincha, legend of Brazilian football, who died in 1983, bruised by the ravages of alcohol. Three years later, the couple’s son died at the age of 9 in a road accident. In total, four of the artist’s eight children have died.

Elza Soares and her second husband, Brazilian footballer Garrincha, in a photo whose date is unknown.

The singer with flamboyant hair has experienced several musical revivals. In 1984, she recorded Tongue with Caetano Veloso. At the opening of the Pan American Games in Rio in 2007, she was chosen to sing the Brazilian national anthem a capella.

With the release of the album The Woman at the End of the World (?The woman at the end of the world?), in 2015, the new generations discover her. The record, which deals with racism, machismo and violence against women, was a resounding success and won the Latin Grammy for best Brazilian song album. From God is a woman (?God is a woman?), released in 2018, audiences see her singing seated, following several back surgeries that reduced her mobility. But she has lost none of her enthusiasm. “I’ll tell you something: my age has nothing to do with my energy”, she confided to Agence France-Presse (AFP) on the occasion of the release of this disc.

Elza Soares performing in Rome on January 26, 1970, during her first concert in Europe.

Criticism against the conservative wave

The singer was as critical of the conservative wave linked to the rise of neo-Pentecostal churches as of the gaping inequalities of a country still hit by serious problems of racism. ?We live in a country full of prejudice, it’s horrible. It’s my country, I love it madly. But we have practically no rights. The poor, the blacks, the women, where are their rights? » she protested.

?I’m not afraid of death, I’m afraid of life. She’s so bad for people that I think to myself: ?My God, how can they bear it?? But you have to live, you have to have strength?, confided the one who had become for the Brazilians a symbol of resistance and courage.

?Beloved and eternal Elza has gone to rest, but she will forever remain in music history and in our hearts and in the hearts of millions of fans around the world. As Elza Soares wished, she sang until the end?, concluded the statement on this sad day for Brazil.

The World with AFP

) [summary] => Elza Soares, September 29, 2019, at the Rock in Rio festival, in Brazil. MAURO PIMENTEL / AFP Brazilian song diva Elza Soares died Thursday, January 20, at the age of 91. “natural causes” in his residence in Rio de Janeiro, announced his press service on the artist’s Instagram account. With more than thirty records to ... Read more [atom_content] =>

Brazilian song diva Elza Soares died Thursday, January 20, at the age of 91. “natural causes” in his residence in Rio de Janeiro, announced his press service on the artist’s Instagram account.

With more than thirty records to her credit in more than sixty years of career, the black artist with her characteristic hoarse timbre was considered one of the greatest voices in Brazilian song. In 1999, the BBC crowned her “Brazilian singer of the millennium”.

“Icon of Brazilian music, considered one of the greatest artists in the world, the sacred singer “Voice of the Millennium” had an extraordinary, intense life, which moved the world with her voice, her strength and her determination”, states the press release.

Read also Garrincha’s museum

?Everything in my life started wrong?

Born June 23, 1930 into a poor family, Elza Soares has managed throughout her career to evolve with ease in the most diverse environments, from the favela of Agua Santa in the suburbs of Rio, where she grew up, to concert halls around the world.

Samba, jazz, bossa nova and even rock suited the hoarse voice of the singer. At the beginning of his career, it was even thought that this characteristic timbre was due to an anomaly. ?We said that before, but nobody has an extra vocal cord, it’s crazy. She’s twisted, I think she’s twisted, because everything in my life started out wrong”, told the singer in an interview on a Brazilian channel in 2002.

Like her career, the personal life of Elza Gomes da Conceição Soares has alternated joys and dramas. Forced to marry at 12 by her father, she had her first child the following year. At 21, she is already a widow and has given birth to seven children, only five of whom survived.

In financial difficulties ? she had confessed to having stolen food to feed her children ? she decided in 1953 to participate in a radio musical program. When the presenter makes fun of his appearance by asking ?What planet are you from? », she replies curtly: “From the Planet of Hunger”. After his performance, he says: ?Ladies and gentlemen, a star is born?.

?A saxophone in the throat?

In 1962, during the Football World Cup in Chile, where she was invited to be the godmother of the Brazilian team, the American star Louis Armstrong was charmed by the singer and her “saxophone in the throat”. She maintained for seventeen years a relationship that was both fusional and stormy with Garrincha, legend of Brazilian football, who died in 1983, bruised by the ravages of alcohol. Three years later, the couple’s son died at the age of 9 in a road accident. In total, four of the artist’s eight children have died.

Elza Soares and her second husband, Brazilian footballer Garrincha, in a photo whose date is unknown.

The singer with flamboyant hair has experienced several musical revivals. In 1984, she recorded Tongue with Caetano Veloso. At the opening of the Pan American Games in Rio in 2007, she was chosen to sing the Brazilian national anthem a capella.

With the release of the album The Woman at the End of the World (?The woman at the end of the world?), in 2015, the new generations discover her. The record, which deals with racism, machismo and violence against women, was a resounding success and won the Latin Grammy for best Brazilian song album. From God is a woman (?God is a woman?), released in 2018, audiences see her singing seated, following several back surgeries that reduced her mobility. But she has lost none of her enthusiasm. “I’ll tell you something: my age has nothing to do with my energy”, she confided to Agence France-Presse (AFP) on the occasion of the release of this disc.

Elza Soares performing in Rome on January 26, 1970, during her first concert in Europe.

Criticism against the conservative wave

The singer was as critical of the conservative wave linked to the rise of neo-Pentecostal churches as of the gaping inequalities of a country still hit by serious problems of racism. ?We live in a country full of prejudice, it’s horrible. It’s my country, I love it madly. But we have practically no rights. The poor, the blacks, the women, where are their rights? » she protested.

?I’m not afraid of death, I’m afraid of life. She’s so bad for people that I think to myself: ?My God, how can they bear it?? But you have to live, you have to have strength?, confided the one who had become for the Brazilians a symbol of resistance and courage.

?Beloved and eternal Elza has gone to rest, but she will forever remain in music history and in our hearts and in the hearts of millions of fans around the world. As Elza Soares wished, she sang until the end?, concluded the statement on this sad day for Brazil.

The World with AFP

[date_timestamp] => 1642741833 ) [4] => Array ( [title] => Burlesque wrestling between Zionism and Diaspora [link] => https://movs.world/culture/burlesque-wrestling-between-zionism-and-diaspora/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Thu, 20 Jan 2022 18:09:21 +0000 [category] => CultureburlesquediasporawrestlingZionism [guid] => https://movs.world/culture/burlesque-wrestling-between-zionism-and-diaspora/ [description] => Benjamin Netanyahu, then Israeli Prime Minister, and his father, Ben-Zion, in 2011. GPO/ GETTY IMAGES “Les Nétanyahu” (The Netanyahus), by Joshua Cohen, translated from English (United States) by Stéphane Vanderhaeghe, Grasset, “En lettres d’ancre”, 352 p., ?22, digital ?16. The American Joshua Cohen is like the biblical Balaam, this prophet sent to curse Israel and ... Read more [content] => Array ( [encoded] =>

“Les Nétanyahu” (The Netanyahus), by Joshua Cohen, translated from English (United States) by Stéphane Vanderhaeghe, Grasset, “En lettres d’ancre”, 352 p., ?22, digital ?16.

The American Joshua Cohen is like the biblical Balaam, this prophet sent to curse Israel and who ends up, reluctantly, by blessing it. Avant-garde whose writing has calmed down without becoming commonplace in his new novel, The Netanyahus, virtuoso of the burlesque, consummate artist of crisis situations? Nothing, a priori, predisposed this darling child of the liberal press, like the New Yorker, to nourish the slightest empathy for Ben-Zion Netanyahu (1910-2012). The latter, recognized historian of the Iberian Inquisition, father of the former Israeli Prime Minister, did he not embody the ideology of the most radical Zionist right? In his previous book, David King takes care of everything (Grasset, 2019), Cohen settled accounts with the Jewish state by parodying certain Israeli writers such as Amos Oz or David Grossman. Today, it is the turn of the diaspora to fall prey to his ruthless satire.

Because Joshua Cohen found him an accuser with this hero full of certainties who came from the Middle East to the United States, at the turn of the 1950s and 1960s, in search of a university post. While assimilation does not seem to be debated across the Atlantic, Ben-Zion Netanyahu predicts the inevitable end of American Judaism, less threatened by anti-Semitism than by dilution. ?In a generation or two, at most, the memory of what was your people will be dead, and America will leave your unrecognizable descendants nothing real?, he yells in his catastrophic hiring conference.

A cultural symbiosis that is running out

Behind the facetious exofiction (where historical and imagined characters mingle) one observation emerges: a cultural symbiosis which, through Chaïm Potok, Saul Bellow, Philip Roth and Woody Allen, has nourished literature and cinema, shaping the cliché of “a Jew of uncoordinated movements, one who (?) always intellectualizes everything and constantly belittles itself?, runs out. The author works in any case to methodically deconstruct it, through the frontal opposition between Ben-Zion Netanyahu, the Hebrew lost in the New World, and the narrator, Ruben Blum, a figure inspired by the critic and academic Harold Bloom (1930-2019), whom the writer dated at the end of his life. For them, the survival or not of Judaism is a conscious issue and not a neurosis.

You have 48.74% of this article left to read. The following is for subscribers only.

) [summary] => Benjamin Netanyahu, then Israeli Prime Minister, and his father, Ben-Zion, in 2011. GPO/ GETTY IMAGES “Les Nétanyahu” (The Netanyahus), by Joshua Cohen, translated from English (United States) by Stéphane Vanderhaeghe, Grasset, “En lettres d’ancre”, 352 p., ?22, digital ?16. The American Joshua Cohen is like the biblical Balaam, this prophet sent to curse Israel and ... Read more [atom_content] =>

“Les Nétanyahu” (The Netanyahus), by Joshua Cohen, translated from English (United States) by Stéphane Vanderhaeghe, Grasset, “En lettres d’ancre”, 352 p., ?22, digital ?16.

The American Joshua Cohen is like the biblical Balaam, this prophet sent to curse Israel and who ends up, reluctantly, by blessing it. Avant-garde whose writing has calmed down without becoming commonplace in his new novel, The Netanyahus, virtuoso of the burlesque, consummate artist of crisis situations? Nothing, a priori, predisposed this darling child of the liberal press, like the New Yorker, to nourish the slightest empathy for Ben-Zion Netanyahu (1910-2012). The latter, recognized historian of the Iberian Inquisition, father of the former Israeli Prime Minister, did he not embody the ideology of the most radical Zionist right? In his previous book, David King takes care of everything (Grasset, 2019), Cohen settled accounts with the Jewish state by parodying certain Israeli writers such as Amos Oz or David Grossman. Today, it is the turn of the diaspora to fall prey to his ruthless satire.

Because Joshua Cohen found him an accuser with this hero full of certainties who came from the Middle East to the United States, at the turn of the 1950s and 1960s, in search of a university post. While assimilation does not seem to be debated across the Atlantic, Ben-Zion Netanyahu predicts the inevitable end of American Judaism, less threatened by anti-Semitism than by dilution. ?In a generation or two, at most, the memory of what was your people will be dead, and America will leave your unrecognizable descendants nothing real?, he yells in his catastrophic hiring conference.

A cultural symbiosis that is running out

Behind the facetious exofiction (where historical and imagined characters mingle) one observation emerges: a cultural symbiosis which, through Chaïm Potok, Saul Bellow, Philip Roth and Woody Allen, has nourished literature and cinema, shaping the cliché of “a Jew of uncoordinated movements, one who (?) always intellectualizes everything and constantly belittles itself?, runs out. The author works in any case to methodically deconstruct it, through the frontal opposition between Ben-Zion Netanyahu, the Hebrew lost in the New World, and the narrator, Ruben Blum, a figure inspired by the critic and academic Harold Bloom (1930-2019), whom the writer dated at the end of his life. For them, the survival or not of Judaism is a conscious issue and not a neurosis.

You have 48.74% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642702161 ) [5] => Array ( [title] => From ?Wolves? Pact? to ?Just the end of the world?, the exceptional career of actor Gaspard Ulliel, who died at 37 in an accident [link] => https://movs.world/culture/from-wolves-pact-to-just-the-end-of-the-world-the-exceptional-career-of-actor-gaspard-ulliel-who-died-at-37-in-an-accident/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Thu, 20 Jan 2022 07:08:21 +0000 [category] => CultureAccidentActorcareerdiedexceptionalGaspardpactUllielwolvesworld [guid] => https://movs.world/culture/from-wolves-pact-to-just-the-end-of-the-world-the-exceptional-career-of-actor-gaspard-ulliel-who-died-at-37-in-an-accident/ [description] => Gaspard Ulliel, in Cannes, May 11, 2018. STEPHAN VANFLETEREN FOR ?THE WORLD? Silhouette of a model (which he was for some time), face of a handsome and tender kid, Gaspard Ulliel, whose acting career was decided while he was still in college, died on Wednesday January 19 at La Tronche (Isère), at the age of ... Read more [content] => Array ( [encoded] =>

Silhouette of a model (which he was for some time), face of a handsome and tender kid, Gaspard Ulliel, whose acting career was decided while he was still in college, died on Wednesday January 19 at La Tronche (Isère), at the age of 37, following a skiing accident. Suffering from a head trauma, he had been transported the day before by helicopter to the Grenoble University Hospital after colliding with another skier at the intersection of two blue slopes, in the winter sports resort of La Rosière in Savoie.

The prosecution announced that an investigation had been opened and entrusted to the Republican Security Company (CRS) Alpes in order to establish the circumstances of the accident. The actor was not wearing a helmet.

At the announcement of this tragic death, the tributes have multiplied. The President of the Republic Emmanuel Macron announced in a press release “his great sadness” in front of the “brutal disappearance” of one “French icon of elegance”. The Minister of Culture Roselyne Bachelot, “ravaged” in his words by this death, evokes the “sensitivity and intensity of his playing” which made Gaspard Ulliel, “an exceptional actor”. “It is with a heavy heart that we will now see his most beautiful interpretations and meet this certain look”, said Prime Minister Jean Castex.

First shoot at the age of 12

Actor Pierre Niney wrote on twitter ” to have a broken heart. Gaspard was benevolence and kindness. Beauty and talent ». It was on Instagram that Jean Dujardin spoke, writing the comedian’s first name followed by a black heart. A publication commented by several personalities of the trade.

Born on November 25, 1984 in Boulogne-Billancourt (Hauts-de-Seine), from a stylist mother and a designer father, Gaspard Ulliel had his first shoot at the age of 12, thanks to a small role in the television series by Aline Issermann A woman in white, with Sandrine Bonnaire. The following year, he plays in the short film Alias by Marina de Van. It then appears in The Pact of the Wolves, by Christophe Gans (2001)? The beginnings of a career that did not prevent him from carrying out parallel studies at the Jeannine-Manuel Active Bilingual School in 15e district of Paris, where he obtained the baccalaureate. Although he had tasted the profession of actor, he was destined for directing when he decided to continue his apprenticeship by going to study the 7e art at the University of Saint-Denis.

But the overly theoretical nature of the teaching given to him did not please him, to the point that he chose to return to the game by following the summer courses of the Cours Florent. His talent is not in doubt and leads him straight to the casting of the bittersweet comedy Kiss whoever you want, by Michel Blanc (2002) in which Gaspard Ulliel plays a teenager in the grip of his first sexual and romantic emotions.

You have 62.3% of this article left to read. The following is for subscribers only.

) [summary] => Gaspard Ulliel, in Cannes, May 11, 2018. STEPHAN VANFLETEREN FOR ?THE WORLD? Silhouette of a model (which he was for some time), face of a handsome and tender kid, Gaspard Ulliel, whose acting career was decided while he was still in college, died on Wednesday January 19 at La Tronche (Isère), at the age of ... Read more [atom_content] =>

Silhouette of a model (which he was for some time), face of a handsome and tender kid, Gaspard Ulliel, whose acting career was decided while he was still in college, died on Wednesday January 19 at La Tronche (Isère), at the age of 37, following a skiing accident. Suffering from a head trauma, he had been transported the day before by helicopter to the Grenoble University Hospital after colliding with another skier at the intersection of two blue slopes, in the winter sports resort of La Rosière in Savoie.

The prosecution announced that an investigation had been opened and entrusted to the Republican Security Company (CRS) Alpes in order to establish the circumstances of the accident. The actor was not wearing a helmet.

At the announcement of this tragic death, the tributes have multiplied. The President of the Republic Emmanuel Macron announced in a press release “his great sadness” in front of the “brutal disappearance” of one “French icon of elegance”. The Minister of Culture Roselyne Bachelot, “ravaged” in his words by this death, evokes the “sensitivity and intensity of his playing” which made Gaspard Ulliel, “an exceptional actor”. “It is with a heavy heart that we will now see his most beautiful interpretations and meet this certain look”, said Prime Minister Jean Castex.

First shoot at the age of 12

Actor Pierre Niney wrote on twitter ” to have a broken heart. Gaspard was benevolence and kindness. Beauty and talent ». It was on Instagram that Jean Dujardin spoke, writing the comedian’s first name followed by a black heart. A publication commented by several personalities of the trade.

Born on November 25, 1984 in Boulogne-Billancourt (Hauts-de-Seine), from a stylist mother and a designer father, Gaspard Ulliel had his first shoot at the age of 12, thanks to a small role in the television series by Aline Issermann A woman in white, with Sandrine Bonnaire. The following year, he plays in the short film Alias by Marina de Van. It then appears in The Pact of the Wolves, by Christophe Gans (2001)? The beginnings of a career that did not prevent him from carrying out parallel studies at the Jeannine-Manuel Active Bilingual School in 15e district of Paris, where he obtained the baccalaureate. Although he had tasted the profession of actor, he was destined for directing when he decided to continue his apprenticeship by going to study the 7e art at the University of Saint-Denis.

But the overly theoretical nature of the teaching given to him did not please him, to the point that he chose to return to the game by following the summer courses of the Cours Florent. His talent is not in doubt and leads him straight to the casting of the bittersweet comedy Kiss whoever you want, by Michel Blanc (2002) in which Gaspard Ulliel plays a teenager in the grip of his first sexual and romantic emotions.

You have 62.3% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642662501 ) [6] => Array ( [title] => With ?The Tragedy of Macbeth?, Joel Coen plunges into the depths of darkness [link] => https://movs.world/culture/with-the-tragedy-of-macbeth-joel-coen-plunges-into-the-depths-of-darkness/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Wed, 19 Jan 2022 20:07:26 +0000 [category] => CultureCoenDarknessdepthsJoëlMacbethplungestragedy [guid] => https://movs.world/culture/with-the-tragedy-of-macbeth-joel-coen-plunges-into-the-depths-of-darkness/ [description] => Macbeth (Denzel Washington) dans « The Tragedy of Macbeth », de Joel Coen. APPLE TV+ Thirty-seven years ago Blood Simple, Joel and Ethan Coen’s first film, featured star-crossed lovers, whose trajectory was guided by this precept: « Blood will have blood » (“blood wants blood”, Macbeth, act III, scene 4). In the company of his wife, Frances ... Read more [content] => Array ( [encoded] =>

Thirty-seven years ago Blood Simple, Joel and Ethan Coen’s first film, featured star-crossed lovers, whose trajectory was guided by this precept: « Blood will have blood » (“blood wants blood”, Macbeth, act III, scene 4). In the company of his wife, Frances McDormand, met on the set of Blood Simple, Joel Coen went back to the source of this maxim: Macbeth’s Tragedy (full title of the play, first performed in 1611), by William Shakespeare. Frances McDormand is Lady Macbeth, and Denzel Washington, the regicide turned tyrant. Joel Coen, who, for the first time, is the only master on board, embraces Shakespeare’s text, tears it apart and ? above all ? stages it to plunge a little deeper into the heart of darkness.

The beauty of the “Scottish play” (British theatrical tradition dictates that, to keep the curse it bears at a distance, the work is referred to by this periphrasis) lies in its attention entirely devoted to the evil that the humans. The character of Macbeth embodies it and tells it. Once committed the first crime, he advances in horror and villainy, without ever losing the measure of his acts. It is he who chronicles his descent to abjection, with a poetic power that commands admiration, prevents repulsion.

Read also Article reserved for our subscribers “Macbeth”: on Shakespeare’s moor, the wind drives you crazy

Terrible Shard

From the purulent and feverish mind of Macbeth, Joel Coen conjures up a geometric hallucination. In the old framework of films before the wide screen, in black and white (the image is by Bruno Delbonnel), the tragedy is based on centuries of history, that of the theater and that of the cinema. Stefan Dechant’s stylized sets borrow both from German expressionism and speculative science-fiction motifs, the setting sometimes evoking Soviet cinema.

The text has been cut to the bone, stopping just before the mutilation, allowing itself some liberties with the original

The text has been cut to the bone, stopping just before the mutilation, allowing itself some liberties with the original (the courtier Ross becomes a pivot of the dramaturgy). Coen ? who carried out the operation himself ? did not want to modernize the language of Shakespeare, leaving it to his interpreters to make it heard in the ears of the 21st century.e century. They are the ones who give this constantly renewed enterprise its terrible brilliance. We thus saw, in 2015, Michael Fassbender and Marion Cotillard in the adaptation of Justin Kurzel, and the versions of Orson Welles, in 1948, of Roman Polanski, in 1971, are each crucial moments in the career of their director.

You have 47.47% of this article left to read. The following is for subscribers only.

) [summary] => Macbeth (Denzel Washington) dans « The Tragedy of Macbeth », de Joel Coen. APPLE TV+ Thirty-seven years ago Blood Simple, Joel and Ethan Coen’s first film, featured star-crossed lovers, whose trajectory was guided by this precept: « Blood will have blood » (“blood wants blood”, Macbeth, act III, scene 4). In the company of his wife, Frances ... Read more [atom_content] =>

Thirty-seven years ago Blood Simple, Joel and Ethan Coen’s first film, featured star-crossed lovers, whose trajectory was guided by this precept: « Blood will have blood » (“blood wants blood”, Macbeth, act III, scene 4). In the company of his wife, Frances McDormand, met on the set of Blood Simple, Joel Coen went back to the source of this maxim: Macbeth’s Tragedy (full title of the play, first performed in 1611), by William Shakespeare. Frances McDormand is Lady Macbeth, and Denzel Washington, the regicide turned tyrant. Joel Coen, who, for the first time, is the only master on board, embraces Shakespeare’s text, tears it apart and ? above all ? stages it to plunge a little deeper into the heart of darkness.

The beauty of the “Scottish play” (British theatrical tradition dictates that, to keep the curse it bears at a distance, the work is referred to by this periphrasis) lies in its attention entirely devoted to the evil that the humans. The character of Macbeth embodies it and tells it. Once committed the first crime, he advances in horror and villainy, without ever losing the measure of his acts. It is he who chronicles his descent to abjection, with a poetic power that commands admiration, prevents repulsion.

Read also Article reserved for our subscribers “Macbeth”: on Shakespeare’s moor, the wind drives you crazy

Terrible Shard

From the purulent and feverish mind of Macbeth, Joel Coen conjures up a geometric hallucination. In the old framework of films before the wide screen, in black and white (the image is by Bruno Delbonnel), the tragedy is based on centuries of history, that of the theater and that of the cinema. Stefan Dechant’s stylized sets borrow both from German expressionism and speculative science-fiction motifs, the setting sometimes evoking Soviet cinema.

The text has been cut to the bone, stopping just before the mutilation, allowing itself some liberties with the original

The text has been cut to the bone, stopping just before the mutilation, allowing itself some liberties with the original (the courtier Ross becomes a pivot of the dramaturgy). Coen ? who carried out the operation himself ? did not want to modernize the language of Shakespeare, leaving it to his interpreters to make it heard in the ears of the 21st century.e century. They are the ones who give this constantly renewed enterprise its terrible brilliance. We thus saw, in 2015, Michael Fassbender and Marion Cotillard in the adaptation of Justin Kurzel, and the versions of Orson Welles, in 1948, of Roman Polanski, in 1971, are each crucial moments in the career of their director.

You have 47.47% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642622846 ) [7] => Array ( [title] => at the Maison de Balzac, the artists put to the test of the ?Unknown Masterpiece? [link] => https://movs.world/culture/at-the-maison-de-balzac-the-artists-put-to-the-test-of-the-unknown-masterpiece/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Wed, 19 Jan 2022 09:06:32 +0000 [category] => CultureartistsBalzacMaisonmasterpieceputtestUnknown [guid] => https://movs.world/culture/at-the-maison-de-balzac-the-artists-put-to-the-test-of-the-unknown-masterpiece/ [description] => Untitled (1990), by Bernard Dufour, oil paint on canvas. COLLECTION PHILIPPE DUFOUR/ADAGP, PARIS, 2021/PHOTO PARIS MUSEUMS/MAISON DE BALZAC The Unknown Masterpiece is a short story by Honoré de Balzac, the first publication of which dates from 1831 and the final version from 1847. The protagonists are three painters: the imaginary Frenhofer, the real Pourbus (Frans ... Read more [content] => Array ( [encoded] =>

The Unknown Masterpiece is a short story by Honoré de Balzac, the first publication of which dates from 1831 and the final version from 1847. The protagonists are three painters: the imaginary Frenhofer, the real Pourbus (Frans Pourbus, 1569-1622) and Poussin (Nicolas Poussin, 1594-1665) as well as his friend, the beautiful Gillette. The young Poussin visits his elder Pourbus and then meets the old Frenhofer, whom Balzac presents as a pupil of Mabuse ? the Flemish Jan Mabuse, who is more often called Jan Gossaert and who died in 1532.

On this fable have accumulated in the XXe century many interpretations, some believing they recognize in it the announcement of abstraction, others psychoanalyzing it

The main argument of the book is that Frenhofer, after having sharply corrected the painting that Pourbus is in the process of completing, ends up after much reluctance by showing his two colleagues the canvas on which he has been working for a long time, a nude of his mistress , Catherine Lescault, known as ?la Belle Noiseuse?. However, when Pourbus and Poussin discover the work, they see only one “chaos of colors of tones, of indecisive shades, a kind of formless fog” of which only one emerges ?delicious foot?, only vestige of the promised portrait.

On this fable have accumulated in the XXe century many interpretations, some believing they recognize in it the announcement of abstraction, others psychoanalyzing it. The gender studies focused on the figure of Gillette, whom Poussin wanted to pose naked in front of Frenhofer. Art historians comment on the master’s long speeches on the elusive form and transience of light. Artists have also seized on it, which brings together the exhibition ?The Unknown Masterpiece. Between genius and madness » at the Maison de Balzac in Paris.

Etchings and engravings

Its largest room is dedicated to Picasso. In 1926, the gallery owner and publisher Ambroise Vollard asked him to illustrate the short story, on the suggestion, it seems, of Blaise Cendrars. The work appeared in 1931, but the word “illustration” did not suit him: Picasso introduced twelve etchings taken from among those he had in progress at the time and which are found in the series of one hundred engravings known under the title of ” Vollard Suite?. He adds two wooden boards engraved from the pages of a notebook where he draws with dots and dashes. Although not literal, the connections between these engravings and the story of Frenhofer and the disappearance of the body swallowed by the paint are obvious. They make this volume the very example of a correspondence between what is to be seen and what is to be read, apart from any notion of illustration.

You have 33.31% of this article left to read. The following is for subscribers only.

) [summary] => Untitled (1990), by Bernard Dufour, oil paint on canvas. COLLECTION PHILIPPE DUFOUR/ADAGP, PARIS, 2021/PHOTO PARIS MUSEUMS/MAISON DE BALZAC The Unknown Masterpiece is a short story by Honoré de Balzac, the first publication of which dates from 1831 and the final version from 1847. The protagonists are three painters: the imaginary Frenhofer, the real Pourbus (Frans ... Read more [atom_content] =>

The Unknown Masterpiece is a short story by Honoré de Balzac, the first publication of which dates from 1831 and the final version from 1847. The protagonists are three painters: the imaginary Frenhofer, the real Pourbus (Frans Pourbus, 1569-1622) and Poussin (Nicolas Poussin, 1594-1665) as well as his friend, the beautiful Gillette. The young Poussin visits his elder Pourbus and then meets the old Frenhofer, whom Balzac presents as a pupil of Mabuse ? the Flemish Jan Mabuse, who is more often called Jan Gossaert and who died in 1532.

On this fable have accumulated in the XXe century many interpretations, some believing they recognize in it the announcement of abstraction, others psychoanalyzing it

The main argument of the book is that Frenhofer, after having sharply corrected the painting that Pourbus is in the process of completing, ends up after much reluctance by showing his two colleagues the canvas on which he has been working for a long time, a nude of his mistress , Catherine Lescault, known as ?la Belle Noiseuse?. However, when Pourbus and Poussin discover the work, they see only one “chaos of colors of tones, of indecisive shades, a kind of formless fog” of which only one emerges ?delicious foot?, only vestige of the promised portrait.

On this fable have accumulated in the XXe century many interpretations, some believing they recognize in it the announcement of abstraction, others psychoanalyzing it. The gender studies focused on the figure of Gillette, whom Poussin wanted to pose naked in front of Frenhofer. Art historians comment on the master’s long speeches on the elusive form and transience of light. Artists have also seized on it, which brings together the exhibition ?The Unknown Masterpiece. Between genius and madness » at the Maison de Balzac in Paris.

Etchings and engravings

Its largest room is dedicated to Picasso. In 1926, the gallery owner and publisher Ambroise Vollard asked him to illustrate the short story, on the suggestion, it seems, of Blaise Cendrars. The work appeared in 1931, but the word “illustration” did not suit him: Picasso introduced twelve etchings taken from among those he had in progress at the time and which are found in the series of one hundred engravings known under the title of ” Vollard Suite?. He adds two wooden boards engraved from the pages of a notebook where he draws with dots and dashes. Although not literal, the connections between these engravings and the story of Frenhofer and the disappearance of the body swallowed by the paint are obvious. They make this volume the very example of a correspondence between what is to be seen and what is to be read, apart from any notion of illustration.

You have 33.31% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1642583192 ) [8] => Array ( [title] => ?Tigritudes? or the affirmation of African cinema [link] => https://movs.world/culture/tigritudes-or-the-affirmation-of-african-cinema/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Tue, 18 Jan 2022 11:02:19 +0000 [category] => CultureaffirmationAfricancinemaTigritudes [guid] => https://movs.world/culture/tigritudes-or-the-affirmation-of-african-cinema/ [description] => « The Dead Tell No Tales », d?Inadelso Cossa. INADELSO COSSA Three years watching films, trying to recover copies from the 1970s, rare gems, some of which have unfortunately remained untraceable ? such as Fatma 75 (1976), by the Tunisian Salma Baccar. At the end of this marathon, the directors Dyana Gaye and Valérie Osouf brought together ... Read more [content] => Array ( [encoded] =>

Three years watching films, trying to recover copies from the 1970s, rare gems, some of which have unfortunately remained untraceable ? such as Fatma 75 (1976), by the Tunisian Salma Baccar. At the end of this marathon, the directors Dyana Gaye and Valérie Osouf brought together a rich anthology of 126 films, from 38 African countries: this cycle entitled “Tigritudes” is to be discovered at the Forum des images, in Paris, until February 27 . Produced between 1956, the date of Sudan’s independence, and 2021, these short and feature films are programmed according to a chronological grid, making it possible to appreciate the circulation of forms. The project is fascinating, accessible and sharp, mixing debates and “cinema lessons”. After Paris, Tigritudes will circulate in Marseille, Lille, Toulouse, etc., as well as in Burkina Faso (Bobo-Dioulasso), in Algiers, etc.

Read also African Cinema: Fespaco Gold Stallion to “The Gravedigger’s Wife” by Somali Ahmed Khadar

The word ?tigritude? refers to the sentence pronounced in 1962 by Wole Soyinka, the Nigerian writer and director, born in 1934, in reaction to the concept of ?négritude? of Léopold Sédar Senghor (1906-2001): ?The tiger does not proclaim his tigritude, he leaps and devours his prey?, Soyinka said. ?It’s the idea that African cinema doesn’t need to define itself in relation to the countries of the North. He just has to be himself, entirely, beyond geographical partitioning ? films from the Maghreb, East Africa, etc. ? and linguistic categories, French-speaking, Portuguese-speaking, English-speaking, inherited from the colonial era?, explains Dyana Gaye, Franco-Senegalese, who produces musicals (A public transport, 2009). ?This self-affirmation goes hand in hand with independence in these countries. There are cinemas from Africa, and at the same time Tigritudes refers to a pan-African political horizon?, adds Valérie Osouf, documentary filmmaker, who works on French colonial history and its contemporary echoes ? national identity (2012).

For Western audiences, African cinema often comes down to a handful of authors selected at festivals, the Malian Souleymane Cissé, the Mauritanian Abderrahmane Sissako, the Senegalese Djibril Diop Mambéty, the Chadian Mahamat-Saleh Haroun, the Egyptian Youssef Chahine (died 2008), etc. Some of their works are programmed, like Fine (1982), by Souleymane Cissé, but beyond that, Tigritudes reveals a wide range of filmmakers, from the pioneers of the 1960s (Sarah Maldoror) to the new generation. “We want to create an archive, to show that there is cinema in Tanzania, Namibia, Somalia, Mozambique, Sao Tome and Principe, Lesotho…”, lists Valérie Osouf.

You have 47.17% of this article left to read. The following is for subscribers only.

) [summary] => « The Dead Tell No Tales », d?Inadelso Cossa. INADELSO COSSA Three years watching films, trying to recover copies from the 1970s, rare gems, some of which have unfortunately remained untraceable ? such as Fatma 75 (1976), by the Tunisian Salma Baccar. At the end of this marathon, the directors Dyana Gaye and Valérie Osouf brought together ... Read more [atom_content] =>

Three years watching films, trying to recover copies from the 1970s, rare gems, some of which have unfortunately remained untraceable ? such as Fatma 75 (1976), by the Tunisian Salma Baccar. At the end of this marathon, the directors Dyana Gaye and Valérie Osouf brought together a rich anthology of 126 films, from 38 African countries: this cycle entitled “Tigritudes” is to be discovered at the Forum des images, in Paris, until February 27 . Produced between 1956, the date of Sudan’s independence, and 2021, these short and feature films are programmed according to a chronological grid, making it possible to appreciate the circulation of forms. The project is fascinating, accessible and sharp, mixing debates and “cinema lessons”. After Paris, Tigritudes will circulate in Marseille, Lille, Toulouse, etc., as well as in Burkina Faso (Bobo-Dioulasso), in Algiers, etc.

Read also African Cinema: Fespaco Gold Stallion to “The Gravedigger’s Wife” by Somali Ahmed Khadar

The word ?tigritude? refers to the sentence pronounced in 1962 by Wole Soyinka, the Nigerian writer and director, born in 1934, in reaction to the concept of ?négritude? of Léopold Sédar Senghor (1906-2001): ?The tiger does not proclaim his tigritude, he leaps and devours his prey?, Soyinka said. ?It’s the idea that African cinema doesn’t need to define itself in relation to the countries of the North. He just has to be himself, entirely, beyond geographical partitioning ? films from the Maghreb, East Africa, etc. ? and linguistic categories, French-speaking, Portuguese-speaking, English-speaking, inherited from the colonial era?, explains Dyana Gaye, Franco-Senegalese, who produces musicals (A public transport, 2009). ?This self-affirmation goes hand in hand with independence in these countries. There are cinemas from Africa, and at the same time Tigritudes refers to a pan-African political horizon?, adds Valérie Osouf, documentary filmmaker, who works on French colonial history and its contemporary echoes ? national identity (2012).

For Western audiences, African cinema often comes down to a handful of authors selected at festivals, the Malian Souleymane Cissé, the Mauritanian Abderrahmane Sissako, the Senegalese Djibril Diop Mambéty, the Chadian Mahamat-Saleh Haroun, the Egyptian Youssef Chahine (died 2008), etc. Some of their works are programmed, like Fine (1982), by Souleymane Cissé, but beyond that, Tigritudes reveals a wide range of filmmakers, from the pioneers of the 1960s (Sarah Maldoror) to the new generation. “We want to create an archive, to show that there is cinema in Tanzania, Namibia, Somalia, Mozambique, Sao Tome and Principe, Lesotho…”, lists Valérie Osouf.

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[date_timestamp] => 1642503739 ) [9] => Array ( [title] => Ricardo Bofill, the architect who wanted to ?achieve the impossible? [link] => https://movs.world/culture/ricardo-bofill-the-architect-who-wanted-to-achieve-the-impossible/ [dc] => Array ( [creator] => Susan Hally ) [pubdate] => Mon, 17 Jan 2022 13:00:22 +0000 [category] => CultureachievearchitectBofillimpossibleRicardowanted [guid] => https://movs.world/culture/ricardo-bofill-the-architect-who-wanted-to-achieve-the-impossible/ [description] => Ricardo Bofill on the occasion of the “Cité de la Réussite”, in Marseille, on November 17, 2001. ANNE-CHRISTINE POUJOULAT / AFP The Catalan architect Ricardo Bofill died on January 14, at the age of 82, carried away by the Covid-19. He was born on December 5, 1939 in Barcelona, ??from a father who was also ... Read more [content] => Array ( [encoded] =>

The Catalan architect Ricardo Bofill died on January 14, at the age of 82, carried away by the Covid-19. He was born on December 5, 1939 in Barcelona, ??from a father who was also an architect, and had therefore spent most of his youth during the “reign” of General Franco (1889-1975). These two weren’t made for each other.

The young architect joined the ?divine left?, a well-named movement frequented by Catalan intellectuals and which managed to impose a form of freedom in a still gagged Barcelona. Bofill adds: ?He sent back an image of frivolity and seduction, writes the novelist Rosa Regas. He was also like that. If he was accused of being a petty bourgeois, he overdid it. If he was told that his architecture was extravagant, he exaggerated even more in his next project. » In the same way, he took care of his physique, which, from the start, looks great, and which he adjusts like a bullfighter in tight suits.

Bofill began his studies in Barcelona, ??at the Higher Technical School of Architecture, until his expulsion in 1957, due to his activism within the Unified Socialist Party of Catalonia, then at the Geneva School of Architecture.

Read also Article reserved for our subscribers The perpetual work of Ricardo Bofill in Barcelona

Franco’s memory has not yet faded when, in 1963, he forms the Taller de Arquitectura with a group of architects, engineers, sociologists and philosophers, a workshop that will take the name of Ricardo Bofill, and will build almost a thousands of buildings around the world. The Taller finds accommodation near the Catalan metropolis, in Sant Just Desvern, in an old cement factory, called ?La Fabrique?. This is the first achievement of the architect and his group, heritage rescue loaded with poetry.

But at the same time, so as not to find himself stuck in a form of backwardness, he imagines surprising ensembles like Walden 7 or the Red Wall. Bofill thus imposed himself in the international architectural milieu then agitated by the struggle between modernism and postmodernism, each fragmented into multiple schools.

The 29-storey tower of the W Barcelona hotel, designed as a sail, by Ricardo Bofill, in Barcelona, ??January 15, 2022.

A surprising catalog

In this respect, the first Venice Architecture Biennale in 1980 forms a surprising catalog which brings together the most disparate projects even if the use of the column, of classical or antique inspiration, tends to impose itself as universal. Bofill is part of the selection as he will be part of the competition for the Halles de Paris in 1974. Adulated by some (Giscard d’Estaing, who knew about classicism), he cataloged himself so well in the ranks of postmodernism that he sees himself rejected by the moderns. Jacques Chirac, who does not know too much about it, blocks his project.

You have 57.47% of this article left to read. The following is for subscribers only.

) [summary] => Ricardo Bofill on the occasion of the “Cité de la Réussite”, in Marseille, on November 17, 2001. ANNE-CHRISTINE POUJOULAT / AFP The Catalan architect Ricardo Bofill died on January 14, at the age of 82, carried away by the Covid-19. He was born on December 5, 1939 in Barcelona, ??from a father who was also ... Read more [atom_content] =>

The Catalan architect Ricardo Bofill died on January 14, at the age of 82, carried away by the Covid-19. He was born on December 5, 1939 in Barcelona, ??from a father who was also an architect, and had therefore spent most of his youth during the “reign” of General Franco (1889-1975). These two weren’t made for each other.

The young architect joined the ?divine left?, a well-named movement frequented by Catalan intellectuals and which managed to impose a form of freedom in a still gagged Barcelona. Bofill adds: ?He sent back an image of frivolity and seduction, writes the novelist Rosa Regas. He was also like that. If he was accused of being a petty bourgeois, he overdid it. If he was told that his architecture was extravagant, he exaggerated even more in his next project. » In the same way, he took care of his physique, which, from the start, looks great, and which he adjusts like a bullfighter in tight suits.

Bofill began his studies in Barcelona, ??at the Higher Technical School of Architecture, until his expulsion in 1957, due to his activism within the Unified Socialist Party of Catalonia, then at the Geneva School of Architecture.

Read also Article reserved for our subscribers The perpetual work of Ricardo Bofill in Barcelona

Franco’s memory has not yet faded when, in 1963, he forms the Taller de Arquitectura with a group of architects, engineers, sociologists and philosophers, a workshop that will take the name of Ricardo Bofill, and will build almost a thousands of buildings around the world. The Taller finds accommodation near the Catalan metropolis, in Sant Just Desvern, in an old cement factory, called ?La Fabrique?. This is the first achievement of the architect and his group, heritage rescue loaded with poetry.

But at the same time, so as not to find himself stuck in a form of backwardness, he imagines surprising ensembles like Walden 7 or the Red Wall. Bofill thus imposed himself in the international architectural milieu then agitated by the struggle between modernism and postmodernism, each fragmented into multiple schools.

The 29-storey tower of the W Barcelona hotel, designed as a sail, by Ricardo Bofill, in Barcelona, ??January 15, 2022.

A surprising catalog

In this respect, the first Venice Architecture Biennale in 1980 forms a surprising catalog which brings together the most disparate projects even if the use of the column, of classical or antique inspiration, tends to impose itself as universal. Bofill is part of the selection as he will be part of the competition for the Halles de Paris in 1974. Adulated by some (Giscard d’Estaing, who knew about classicism), he cataloged himself so well in the ranks of postmodernism that he sees himself rejected by the moderns. Jacques Chirac, who does not know too much about it, blocks his project.

You have 57.47% of this article left to read. The following is for subscribers only.

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