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BBCNEWS This Cultural Life June 4, 2024 00:49:00

Production of little malcolm and his struggle against the eunuchs, a play by david halliwell. you ve described this experience as a life changing experience. why? because. david halliwell, who was a close friend and a very talented guy, he s no longer with us, but he wrote the play so he could play the main character, malcolm scrawdyke. and to cut a long story short, he was impossible to direct. he d say, oh, a director s just a chairman. i d say, why don t you move over there on that.? he d say, why? i could move there, i could move anywhere. and so. at this point, i d already. and we ve talked about this, i d already formulated notions about. because i wanted to write and direct and i d formulated notions about other collaborative ways of making work. and this experience, much though i felt. ....

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BBCNEWS This Cultural Life June 4, 2024 00:37:00

A formative effect on your work is ronald searle, illustrator, artist, best known for creating century unions, so many books and magazines over the years, in the postwar years, how do you discover him? when i was six, somebody gave me a copy of hurrah for st trinian s, a collection of cartoons by ronald searle, for my birthday. that was it. the great thing about searle is that he was apart from being a great draughtsman he was a fantastic observer, and his style of drawing influenced my style. ifact, my handwriting, to this day, is influenced by ronald searle s style of handwriting. and what was he doing? i mean, just to evoke a sense of his style? well, there are two things, really. one is his his observation of character, and his expression of character. but the other is his line. you know, he had a great. ....

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BBCNEWS This Cultural Life June 4, 2024 00:43:00

Thing, except what your character knows. so they don t know about the other characters? not until, not until and unless they meet them in the context of the work. are they banned from talking to the other actors about. absolutely. but it works totally. everybody enters into the spirit of it, and there s never been a case where anybody has, as it were, broken the rules or cheated. people, they. ..actors are highly stimulated by it, because it means each actor feels in possession of something that only he or she has, and apart from anything else, it means that the actors can the actor doesn t have isn t distracted or inhibited, or in any way affected negatively by an overview. he or she, each actor or actress, sees the whole thing from the point of view of the character, but it mostly means that we can explore situations in a completely truthful and organic way and arrive at the dramatic material. and on set, are you ever ....

It Didn T , Making Work , Isn T A Character , Doesn T Have Isn Distracted , Point Of View ,

BBCNEWS This Cultural Life June 4, 2024 09:49:00

Well, i mean, if you look at my films and plays, you know, about how we live, relationships, work, responsibility, surviving, secrets and lies, you know, the stuff of living, really. class ? and class, yes. it s funny, it s interesting, i didn t put that instinctively at the top of the list, but fair do s, you know. could you characterise a typical mike leigh film? what sort of films does mike leigh make? no, i couldn t do that and i m not going to try. you ve chosen as your next cultural moment an experience from 1965. you directed the original production of little malcolm and his struggle against the eunuchs, a play by david halliwell. you ve described this experience as a life changing experience. why? because. ....

Making Work , Secrets And Lies , Mike Leigh , David Halliwell , Little Malcolm And His Struggle Against The Eunuchs ,

BBCNEWS This Cultural Life June 4, 2024 09:50:00

David halliwell, who was a close friend and a very talented guy, he s no longer with us, but he wrote the play so he could play the main character, malcolm scrawdyke. and to cut a long story short, he was impossible to direct. he d say, oh, a director s just a chairman. i d say, why don t you move over there on that.? he d say, why? i could move there, i could move anywhere. and so. at this point, i d already. and we ve talked about this, i d already formulated notions about. because i wanted to write and direct and i d formulated notions about other collaborative ways of making work. and this experience, much though i think the play is great and much ....

David Halliwell , Malcolm Scrawdyke , Why Don T , Cut A Long Story Short , Making Work ,