The most of the European football teams looked tired and without ambition during the World Cup. The most of the European football teams were struggling to prove that they can be competitive. Their performance overall was poor and disappointing. Germany, Spain and Holland still have a place in the dream-land of the World Cup. France and England severely disappointed their fans. Old ladies, old dreams and a great need for ‘lifting’. Greece played the old good learnt game: defence, defence, defence. Fear to attack the ‘enemy’, ready to protect themselves, no challenging the future, as if the Greek Team is getting ready and well prepared to accept the reality of the long standing barbarians. As if the barbarians is always what Greece needs as a point of reference for its own existence (even in World Cup!). And Germany ready to lead the way….(and not only in World Cup!). Is the performance of the European football teams a pure simulacrum of the performance of the EU? In two weeks from now I may have an answer. In the meantime I think it’s time to take a look at Simon’s Kuper, Football Against the Enemy…
Archive for June, 2010
From Arthur Miller, All My Sons (A Drama in Three Acts):
FRANK: The trouble with you is, you don’t believe in anything.
JIM: And your trouble is that you believe in anything.
Epidaurus -the classic venue of Greek Tragedy- is supposed to epitomise the locum of Theatre – not only Greek but also universal. The Bridge Project last year ended at Epidaurus. I had seen the Cherry Orchard -part of last year’s Bridge Project – at the Old Vic last summer ( Sam Mendes with a transantlantic theatre company -Ethan Hawke amongst them) and I felt a great joy when I learnt that the same play was about to be presented in the theatre of Epidaurus later in the same summer. ‘This is where they can all meet up’ , I thought, ‘Old venue, classic plays, universal theatre, modern times, enthousiastic audience, universal theatrical language….the birthplace of theatre can still matter’. I don’t think that I stand alone on that. Caro Newling (producer with whom Sam Mendes has been working since 2003) found last year’s experience at Epidaurus quite moving:
The title of this year’s summer exhibition at the Royal Academy of Arts is ‘Raw‘. The rawness in the majority of the works -I am not an expert in Art anyway- probably is based on the expressed desire of the artists to expose themselves deeply and unconditionally. Certainly I need to pay a second visit at the RA. But just after my first visit on Saturday a ‘raw’ event attracted my attention: (more…)
Exposed: Voyeurism, Surveillance and the Camera is the title of an exhibition currently run at Tate Britain. Several photos taken by hidden cameras, paparazzi, CCTV address the always fashionable question about what is private and what is public. Violence, sex, life and death are just some of the themes. I was thinking about all these people being in photos taken years ago, not knowing probably that they would become subjects of spectatorship years late. Is that moral? Can modern technologies and morality co-exist? Do we like being viewed? Do we like viewing images of other people, especially when we know that they do not know? When Degas was drawing his women bathers famously said: ‘..I want to look through the keyhole…you can look at people. We were created to look at one another, weren’t we?…’. I certainly enjoyed the exhibition as I found some of the images highly political. I found that one of the photos exhibited- is so much linked with the subtitle of my blog. Artist: Mark Ruwedel. Title: Crossings 2005. Description: A piece of land, empty of life but so full of life, a visa left behind, no man, no land, no ethnicity, just a ‘left’ identity behind, on a piece of land that belongs to none and to everyone……
About 2 weeks ago I went to the Old Vic to see Tom Stoppard’s The Real Thing directed by Anna Mackmin. I’m afraid I wasn’t impressed…probably not in the right mood to enjoy the play. I enjoyed reading the play though, Stoppard is always witty, wise and a great spotter of the ‘deep’ human nature. Two of my favourite plays by Stoppard were on London’s stage this year (Every Good Boy deserves a Favour at the National Theatre – just beautiful, so moving, such a fond play!) and last year (Arcadia – lucky to find tickets for the last performance).
A favourite quote here:
From Every Good Boy Deserves a Favour:
Alexander: I have no symptoms. I have opinions.
Doctor: Your opinions are your symptoms.