Secret Girl is an exhibition by Leah Crossley on the art work she has produced out of the photographs she took during The Seven Kimgs - Secret Girl workshop given by Gabriella Sacco at the Magdalena Legacy and Challenge festival in Cardiff in 2011.
Más caras con máscaras es un manual que muestra cómo crear 22 diferentes máscaras y sus variaciones en forma precisa y meticulosa. Con 190 páginas e 772 ilustraciones este manual es un recurso invaluable para educadores, profesionales de teatro y quien quiera crear máscaras.
I am in Pondicherry, India for the Tantidhatri festival(link is external) - the first Magdalena festival in India, organised by Parvathy Baul (with an incredible army of volunteers). The festival has finished & I'm indulging in a week of holiday here - although "holiday" also means clearing my email backlog and dealing with lots of photos taken by myself and others during the festival; you can see the growing gallery of images here.
We are nearing the end of the Tantidhatri Festival already, and I haven't had time to post anything - I've been full of good intentions but like most Magdalena festivals, the schedule of overlapping performances, transport logistics, catching up with people and preparing for my performance hasn't left much time for anything else except sleeping; also it's so hot here that it's necessary to shower 2-3 times a day & wash everything I've been wearing as well.
Cosa c’è dietro al sipario? Il mondo magico del teatro e della presenza, il mondo reale e ostinato del lavoro quotidiano per poter dire “sono qui e ora” sul palcoscenico: l’attrice nei suoi piedi, calzando le scarpe dei suoi personaggi.
I am in Torino for Magfest(link is external)! When I left Munich on Thursday morning, the first winter snow was falling - but in Torino it was a beautiful sunny day. I was met at the airport by Valentina and Christina Kyriazidi, who had just arrived from Berlin, then we had lunch with Gabriella and her parents. Gabriella and Valentina have put the festival together on almost nothing (in New Zealand we'd say "on the smell of an oily rag") and focussed on performances - 17 performances over two days and one evening - mostly by "younger" women.
We all know how difficult funding is to get, and that in the "current economic climate" it is getting harder and harder. But there are funds out there, and perhaps if we join forces and apply together we may be able to access something. As an international network, the Magdalena Project is significant and fairly unique, and our work connects into many funding organisations' priorities. We just have to find the right fund to approach and give them a good pitch.
I thought I’d write a short blog for those who were interested but unable to attend today’s Magdalena@25 afternoon tea at my place. This is by no means a comprehensive description of the conversation that took place, but if you were one of the women who just couldn’t be there today, here’s a taste of the ground covered:
