Sent from my iPhone
Begin forwarded message:
> From: Jerald Head <jlhead1952(a)gmail.com>
> Date: April 8, 2013, 12:58:31 PM CDT
> To: "Jerald Head, M.D." <jlhead1952(a)gmail.com>
> Subject: Docs Birthday
>
> I am attaching a video of Doc’s Birthday my partner Sergio put together from the tape taken at the party. There are a couple of repeat scenes from prior videos, notably the “Cookoo” song, but that performance deserves an encore and a loud “Bravo!” I wish I could say the jittery nature of the video was my intent to achieve the hand held effect of cinema verite’, or that I was trembling with excitement while taping, but it was just poor technique on my part. Sergio did the best he could with what he had.
>
> I must add, if I may, the girls of summer, 1975, Terry, Alice, Laura, and Carol, are still quite the lovelies.😍
>
> http://m.youtube.com/#/watch?feature=youtu.be&v=bRpQkqbmY4c&desktop_uri=%2F…
>
> Jerald
>
>
>
> Sent from my iPhone
“And the best news is” (says the Boatswain in The Tempest) that Camp
Shakespeare will be celebrating its 12th summer with two spirited and
likely very musically boisterous sessions for campers, ending in
performances of The Comedy of Errors and Twelfth Night. It’s going to
be a twin bill for sure.
The sessions run from June 8-June 21 and June 29- July 12. Once
again, we will be performing on the final Thursdays at the Crystal
Theater in Gonzales, Tx; on the final Fridays, at Henkel Hall in Round
Top; and on the final Saturdays, in the barn at Winedale. We will
have all of that information on the shakespeare-winedale.org site.
We are planning a special fund-raising “Twelfth Night Dinner/
Performance in air-conditioned Henkel Hall on Friday evening, July 11,
at 7:00 p.m. Cost will be $50.00 per seat. We will have a catered
dinner, a live and silent auction and a brilliant in-the-round
performance of Twelfth Night. Save the date! We hope to place net
income from the Gala in the endowment founded by Jayne and Rick Suhler.
This letter is also an invitation to support the operating fund of
Camp Shakespeare ’14. Last year, former students and folks in the
community contributed over $15,000 to the program. Former Shakespeare
at Winedale students were leaders in that effort. Our goal this year
is the same: $15,000. I’d like your help with that.
So if you can, please send your check to me at P.O. Box 202, Round
Top, Tx, 78954, make it “TO” The University of Texas and mark it “FOR”
Camp Shakespeare.
I look forward to hearing from you and seeing you once again at
Winedale!
Cheers,
Doc
Tomorrow is Alice's birthday! Happy birthday Alice! JoAnn and I send
our best wishes to you and hope that some of our NY groupies take you
out for a pizza.
Cheers,
Doc
Happened to be sitting in Dobie Mall food court this afternoon near the TV (which is usually some bad sci-fi channel) when I looked up to see John Rando talking about his new Acting Company production of "Rosencrantz and Guildenstern Are Dead." Here's the tour schedule -- they're in New York right now, not coming to Texas, unfortunately. Congrats John!
http://theactingcompany.org/on-tour/
cs
Congratulations
"Stop Hitting Yourself" scored a "Brilliant" on the NY Magazine's Approval Matrix. Why do I dream about being on stage with the queso fountain?
Jerald
Sent from my iPhone
Thanks Doc. I remember those stretching sessions - and the massage lessons and the laughter - on those dusty tarps, clear as a bell. I consider them my first yoga classes.
For other Winedale yogis out there, the article will be available on-line via the Australian Yoga Life website in a month or so, once it becomes a "past article." I'll happily post the link when the time comes.
Namaste,
Claire
Claire Szabo-Cassella, E-RYT
Hot Yoga of New Zealand
Teacher Training & Studio Development
WELLINGTON
e hotyoganz(a)icloud.com
w www.hotyoganz.com
m +1 828 989 2207 (USA 2014)
m +64 469 9642 (NZ 2015)
On Feb 5, 2014, at 4:01 AM, winedale-l-request(a)lists.wikimedia.org wrote:
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> than "Re: Contents of Winedale-l digest..."
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> Today's Topics:
>
> 1. Re: ‘Peter Brook: The Tightrope’ Follows the Theater
> Director - NYTimes.com (Alice Gordon)
> 2. Yoga Shakespeare (James Ayres)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 4 Feb 2014 11:03:37 -0500
> From: Alice Gordon <alicegordon(a)earthlink.net>
> To: "Barker, Michael" <Michael_Barker(a)spe.sony.com>
> Cc: "'winedale-l(a)lists.wikimedia.org'"
> <winedale-l(a)lists.wikimedia.org>
> Subject: Re: [Winedale-l] ‘Peter Brook: The Tightrope’ Follows the
> Theater Director - NYTimes.com
> Message-ID: <C26DD996-8BEE-4A25-8446-BA4526BDDF78(a)earthlink.net>
> Content-Type: text/plain; charset="windows-1252"
>
> Thank you both. I'm seeing it tomorrow, I hope!
> On Feb 4, 2014, at 8:55 AM, Barker, Michael wrote:
>
>> I saw it. The film is fantastic, exactly as described here.
>> Clayton, thanks for sending this out.
>> m
>>
>> From: Clayton Stromberger [mailto:cstromberger@austin.utexas.edu]
>> Sent: Tuesday, February 04, 2014 08:25 AM
>> To: winedale-l(a)lists.wikimedia.org 1970-2000 alums <winedale-l(a)lists.wikimedia.org>
>> Subject: [Winedale-l] ‘Peter Brook: The Tightrope’ Follows the Theater Director - NYTimes.com
>>
>>
>>
>> http://www.nytimes.com/2014/01/31/movies/peter-brook-the-tightrope-follows-…
>>
>> ‘Peter Brook: The Tightrope’ Follows the Theater Director
>>
>>
>> Acting students go through exercises with Peter Brook, center, in “Peter Brook: The Tightrope,” which was filmed using five hidden cameras. First Run Features
>> “The actor’s gift,” according to the director and theatrical sage Peter Brook, “is the connection between pure imagination and the body itself.” For him, the technique of acting is at once physical and metaphysical, a discipline of the face, limbs, voice and spirit. “Peter Brook: The Tightrope,” a concise new documentary directed by Simon Brook, offers a rare glimpse behind the scenes as its subject (who happens to be the filmmaker’s father) instructs a group of actors in the rigor and simplicity of his method.
>>
>> Wearing a bright orange shirt and holding forth in an accent that bespeaks breeding and education, Mr. Brook, edging toward 90, seems at first to be a gentle, grandfatherly teacher. He invites his pupils — of various shapes, sizes and backgrounds, speaking at least four languages — to undertake what looks like a fairly elementary, mechanical exercise. They are to walk across a large Persian carpet as if along a tightrope, maintaining balance and trying out whatever tricks or stunts strike their fancy. The most important requirement is that they convey a sense of reality, as if they were genuinely suspended in the air, their feet hugging a thin cord. After a while, it becomes clear that the tightrope is also a metaphor, standing for the existential risk inherent in every serious instance of playing.
>>
>> As Mr. Brook’s criticisms — never unfriendly, always candid — make clear, what the tightrope walkers are really doing is, well, everything: conveying emotion, telling a story, inhabiting a situation that demands limitless, almost impossible focus. And, of course, that’s only the beginning. Accompanied by music (including snatches of “The Magic Flute”) and supplied with rudimentary props (bamboo reeds, a few chairs, a book of matches), they explore short scenes and improvisations, always encouraged to find the concentration and imaginative daring of the initial high-wire acts.
>>
>> At the beginning of the film, Mr. Brook explains that he usually refuses the request of those who want to watch his rehearsals: What could be more bothersome than a fly on the wall? Simon Brook used five hidden cameras, and the audience has a sense of witnessing intimate moments rather than watching a performance.
>>
>> Peter Brook’s productions of Shakespeare in the ’50s and ’60s are legendary. His subsequent work — “Marat/Sade” and “The Mahabharata,” in particular — occupies a central place in the history of modern theater and represents a standing challenge to the psychological realism and social didacticism that have dominated the art form in Britain and America. His interest has always been in the ritual roots and mythical resonances of the theater, and the idea of acting he articulates in “The Tightrope” has a primal, even mystical tenor. He speaks of access to a collective brain, of grasping the essence of time and of the ways the theater can offer a heightened experience of life.
>>
>> At times, the faces of the actors under his command register confusion and frustration. Mr. Brook’s words can flow almost effortlessly from plain practicality — stand here; walk that way; start again — to dizzying abstraction. His presence is both calm and intense, and, like all the best teachers, he offers lessons that can hardly be absorbed, much less applied, all at once. You envy his disciples, even as you may also feel a twinge of sympathy when their sincere best efforts fall short.
>>
>> At some point, though, perhaps many years after the encounter recorded here, they will peek down at the chasm under their feet and find themselves possessed of the agility and imagination to keep going.
>>
>>
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>
Claire Szabo ('85-87), founder of Hot Yoga in New Zealand, has an
interesting article in Australian Yoga Life Magazine, "Shakespeare on
the Mat," using lines from the plays to illuminate the values of the
yoga experience. She sent me a copy. Claire: is it available on-
line? Good work here. Made me think about the two-a-day stretches
(when we could do that) under the pecan trees in the early years.
Thanks, Claire