Ever since, the creative industries have been a favourite of the British government and media. Successive prime ministers, including Theresa May, have hosted receptions for the entertainment and fashion industries, and lauded the UK as a “cultural powerhouse” that generates jobs and wealth for the country.
The Drag was inspired by her many gay friends. She knew their daily struggles to be open about their relationships, and to be accepted for who they were. When casting the play, she actively sought
Appearance: Man of letters.
Kim Jong-un and Donald Trump are threatening to nuke each other. The UK has had four terror attacks in four months. David Cameron called the EU referendum, lost, resigned, said: “Dum de dum de dum”, then retreated to his £25,000 sheepskin-insulated manshed at the bottom of his garden to eat artisanal cheese. The man who sold me my bicycle refused to put the basket on it because he thought it was a girl’s job.
The agency of the body is a key theme of Faust, often because its cast are forced into situations of unsettling passivity. Imhof has transformed the interior of the German pavilion into glass chamb
For this month’s Manchester international festival, the 41-year-old German actor and her collaborators – Berlin Schaubühne director Thomas Ostermeier and Bush Moukarzel, an Irish actor, writer
He was the author of many polemical poems, written over four decades in a unique documentary style. They included works about the devastation being wrought on the natural environment - Sacred E
“It took away that experience of being able to come out,” said Beach, a 22-year-old Michigan resident. “It overall stifled me socially.”
8 Minutes is loosely structured around sections, with each new theme flagged up by commentary from an anonymous but charming-sounding lecturer, and given visual life by Tal Rosner’s mesmerising fusion of scientific footage and original artwork. In the first section (which meditates on measurement and scale) the introductory dance of solar flares and planetary vistas switches down to a choreography of microscopic matter, with Rosner transforming the back wall into an abstract swarm of particles, against which the dancers cluster in their own darting, glimmering formations.