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‘The Eras Tour’ serves up Taylor Swift, larger than life
That Taylor Swift is a great songwriter is no longer in question. What’s up for debate is whether she’s a great concert artist as well. By artist we don’t mean a gifted vocalist. The era of the pop concert as a singing showcase and a straightforward live onstage performance of recorded music ended in 1990 with Madonna’s third concert tour. Called Blond Ambition, the highly theatrical show combined music, spectacle and, most crucially, storytelling with a several-act structure based on themes or narrative arcs, deconstructed songs and elaborate sets to redefine the pop concert as performance art. It has since been the template and gold standard by which all concerts, especially those by female superstars, have been measured. Yes, even Madonna’s own subsequent tours have been assessed through the Ambition lens and, arguably, none of them has quite equaled the one that gave the world the cone bra as an icon of female sexuality and woman power. [caption id="attachment_201371" align="aligncenter" width="1987"] LOS ANGELES, CALIFORNIA - OCTOBER 11: Taylor Swift attends "Taylor Swift: The Eras Tour" Concert Movie World Premiere at AMC The Grove 14 on October 11, 2023 in Los Angeles, California. Matt Winkelmeyer/Getty Images/AFP (Photo by Matt Winkelmeyer / GETTY IMAGES NORTH AMERICA / Getty Images via AFP)[/caption] Feast for the eyes Swift’s The Eras Tour, as seen in the filmed concert currently showing in cinemas worldwide, certainly serves up a feast for the eyes. Most of it is courtesy of the massive stage consisting of a backdrop that stands several stories high, a huge main platform and a long runway that juts well into the audience floor and features its own diamond-shaped mini-stage with a “hyperactive” central hydraulic platform consisting of several mobile blocks that rise to various heights throughout the almost three-hour show. It’s not only one of the biggest stages ever built for a pop concert, but is also probably the biggest LED installation ever assembled in and outside the music world. And it’s never not in use, lighting up the cavernous 70,000-seat SoFi Stadium in Los Angeles (where the movie was filmed over three shows) with eye-popping digital images, pre-recorded videos and live footage from the concert itself. The set is so massive that it makes Swift and her troupe of dancers look like ants. But thanks to the big screens, she literally looks larger than life to the live audience at different points in the show. The film does the opposite, and is the better for it: It brings Swift into the intimate space of the cinema and, thus, closer to the audience. Eras further highlights and celebrates the main thing that has helped the 33-year-old singer-songwriter conquer the pop world, the core attribute that makes Taylor Swift Taylor Swift: relatability. [gallery columns="2" size="full" ids="201372,201370"] It’s all over her music: a repertoire of mostly slow and mid-tempo ballads that tell about the blush, excitement, joy, ecstasy, frustrations, confusion, sadness, heartbreak, anger and regrets of modern-day romantic relationships, in creative confessional journal prose that listeners of all ages, colors and persuasions find no difficulty accessing and plugging into. It’s all over her wholesome, winsome, non-threatening all-American girl-next-door public persona. This is on fuller display in her performance in Eras than even in her 2020 documentary movie, Miss Americana & The Heartbreak Prince, which chronicled mostly the period between her Reputation Tour in 2018 and the release in 2019 of her seventh studio album, Lover. Between the many floral, even pastoral, and fluid graphic images onscreen and the tasteful, immaculate set pieces, between the squarely schematic album-era sectioning and the billowy ball gowns and sparkly and sexy but modest bodysuits, between the Cheshire-Cat grin Swift wears through most of the show, even during moments in some heartbreak songs, and her dorky cheerleader energy, The Eras Tour plays like Little Miss Sunshine & The Hearty Princess. It’s all what anyone would expect from the reigning America’s Sweetheart. Thoroughly entertaining It’s a great Taylor Swift show, for sure — thoroughly entertaining and one that sends stans to Swift heaven. But it stops at being a Taylor Swift show with a faithful rendition of her songs when, for something called Eras, it should be giving audiences, both fans and casuals alike, more to chew on than what they already know and are familiar with — a recast, a reinterpretation, a recontextualization of her music and impact. [caption id="attachment_201373" align="aligncenter" width="2560"] US singer-songwriter Taylor Swift performs onstage on the first night of her "Eras Tour" at AT&T Stadium in Arlington, Texas, on March 31, 2023. (Photo by SUZANNE CORDEIRO / AFP)[/caption] The show is content to be a pop concert about Taylor Swift. Coming almost 20 years into her career, it should’ve reached for the world outside of Taylor Swift, or even just a small part of it: What do Taylor and her songs, for instance, say about the times we are living in? The Eras Tour could have aspired to life and art, or at least something approaching it, and thereby become a truly era-defining experience. The post ‘The Eras Tour’ serves up Taylor Swift, larger than life appeared first on Daily Tribune......»»
‘Anak Datu’ opens a rush of truth from ripples of trauma
A year after it premiered, Anak Datu is returning to the stage, opening the 37th season of Tanghalang Pilipino, the resident theater company of the Cultural Center of the Philippines. When it debuted, it immediately became a landmark production in several ways. It was one of the first plays to be mounted with a live audience after the lockdowns and restrictions of the coronavirus pandemic in 2020 and 2021. And it was the first play to be staged at the newly opened CCP Black Box Theater or Tanghalang Ignacio Gimenez. Anak Datu is one of the few plays on the Tausug and Moro people and cultures of Mindanao, portrayed with marked sensitivity and apparent diligence. It was lauded by critics and audiences, with former Vice President Maria Leonor “Leni” Robredo as one of the prominent people who trooped to CCP to watch the play on 1 October 2022. The play went on to win six awards at the 13th Gawad Buhay and five at the 35th Aliw Awards. [caption id="attachment_192618" align="aligncenter" width="2560"] the tausug pangalay dance is incorporated into the play.[/caption] Fine-tuned production Despite the accolades and being one of the most important theatrical events in 2022, the play was faulted by some for what was seen as its confusing storytelling, its shifts in timeline and milieus, and the cumbersome sets. The second staging afforded the creative team the opportunity to fine-tune these and other aspects of the production. According to director Chris Millado, former CCP vice president and artistic director, they were able to make the storytelling clearer and supply an elevated platform to make the designs of the light projections more visible. For Dennis N. Marasigan, current CCP vice president and artistic director, “[o]n its rerun, Tanghalang Pilipino's Anak Datu is tighter, its storytelling and technical aspects clearer and crisper, and its staging even more affecting, effectively overlaying story, myth and history.” The restaging marks another milestone in the journey of the play, which started in 2018 from talks that artist Toym Imao, son of the late National Artist for visual arts Abdulmari Asia Imao, had with Millado and veteran actor and TP artistic director Fernando “Nanding” Josef about making a stage adaptation of the elder Imao’s short story for children, written in 1968, the year Toym was born. The team recruited award-winning playwright Rody Vera to write the script. The plan became more concrete when Josef decided to make the project TP’s first original play after the pandemic lockdowns. By then, the play has evolved into something larger than the original story. Serving as Anak Datu’s set designer, Imao recalled the anxieties they felt during the first stages of production, especially the prospect of one of them getting sick and shutting down the show. “But we were able to tell an essential story that was important, especially for a nation that was coming out of the devastating election of May 2022 for a lot of people. It is something important for us na nakapagkuwento kami (we were able to tell a story),” he said. [caption id="attachment_192619" align="aligncenter" width="525"] Ramli Abdurahim as the pirate Jikiran.[/caption] Three stories Anak Datu tells three stories — Toym’s childhood with his father (Paul Jake Paule) and mother, Grace de Leon (Toni Go-Yadao); his father’s short story; and the recent history of his father’s people, the Muslim Tausug in Sulu Archipelago and the Moro, the collective Muslim ethnic groups, of Mindanao. The Imao family portion shows Toymie (Carlos Dala) growing up with Voltes V and other preoccupations of middle-class children in Metro Manila. Then there is the story of the disputed 1968 Jabidah Massacre, told through Jibin Arula (Gie Onida), the lone survivor — how young Tausug men, mostly illiterate, were recruited by the military, transferred to Corregidor and then massacred upon the discovery of a suspicious plot. Also dramatized is the 1974 Palimbang Massacre, in which the military allegedly murdered more a thousand Moro men inside the Malisbong masjid in the province of Sultan Kudarat, while 3,000 women and children were detained and about 300 homes were burned down. These incidents were said to have sparked the conflicts and armed struggle in Mindanao that would scar the region for decades. Along with the contemporary scenes is the retelling of the short story Anak Datu, set in a pre-colonial time and rendered in mythical mode, combining both the familial and the tragic. The Tausug village of datu Karim (Hassanain Magarang) and his wife Putli Loling (Tex Ordoñez-De Leon and Lhorvie Nuevo) is attacked by pirates, led by Jikiran (Ramli Abdurahim), who kidnaps the pregnant Putli Loling. She gives birth to Karim, who grows up knowing Jikiran as his father but later learns the truth. [caption id="attachment_192620" align="aligncenter" width="2560"] Artist Toym Imao taking a picture with the cast and creative team.[/caption] Graceful movements All throughout, the play shifts among these threads of stories, each one compelling and multi-layered. Counterbalancing the oral storytelling is the dramatization through graceful movements, choregraphed by Magarang using the pangalay or Tausug traditional dance, a shared art form with the Yakan (pamansak) and Sama (igal) peoples, thus rendering the stories more visual and adding allure and distinctive cultural flavor to the play. The dances are accompanied by a live kulintangan or gong ensemble. The stark interiors of the theater come alive and burst with colors courtesy of the lighting by Katsch Catoy and projection design of GA Fallarme, who uses Abdulmari Imao’s paintings and traditional Tausug and Meranaw motifs such as the okir as inspirations. Toym’s set pieces are highly movable to keep up with the constant shifts in storytelling, and the bigger ones are like art installations, contributing to the visual richness of the production. Harnessing memory, myth and history, Anak Datu is able to weave its stories into an enthralling whole, establishing interconnectedness and consolidating the story of a person, a family and a community into the very story of a nation, like three or more streams converging into a great river. Tanghalang Pilipino’s Anak Datu runs 29 September to 15 October at Tanghalang Ignacio Gimenez (CCP Black Box Theater). The post ‘Anak Datu’ opens a rush of truth from ripples of trauma appeared first on Daily Tribune......»»
A tribute to people working behind the scenes
Audiences always see the work that the actors, and rest of the cast — the so-called front-liners of a production — put into a successful performance, but they seldom are aware of the “backliners” — the backstage and production crew — who also spent time and energy on the production. As the cast receives applause and adulation, the behind-the-scenes crew often goes unnoticed — the costume designer who works on the fittings and alterations, the technical staff who makes sure that the lighting and sound system works, the production people who make the artistic vision come alive with their hammers, paint brushes, etc. Some take great pride in their backstage work such as Annie Ignacio and Amado Bonifacio III, who are in production design for the Cultural Center of the Philippines. A theater arts graduate of the Polytechnic University of the Philippines, Ignacio first encountered CCP when she was invited as a performer for Pasinaya: The CCP Open House Festival, the country’s largest multi-arts festival happening every February. After hearing great things about CCP from her friends who have been working at the premier cultural institution, she decided to try her luck and inquired about a job opening. Weeks later, she started her new job as part of the theater crew at the Production Design Center. Later on, she was promoted as a draftsman. [caption id="attachment_185925" align="aligncenter" width="525"] Amado Bonifacio III prepares a production’s scale model with his mentor Manong Junior.[/caption] Bonifacio, meanwhile, recalled undergoing an on-the-job training at CCP in 2016, a requirement to finish his engineering degree at the University of Manila. Two years later, in 2018, he became a reliever for one of the theater crewmembers. He was later tasked to supervise the layout of the CCP’s Christmas decorations. Ignacio and Bonifacio both trained under Francisco M. Galvero Jr., or “Manong Junior” to people he worked with. For more than five decades until his retirement last year, Manong Junior remained the only scenic painter of the CCP. After watching him create huge sets for different CCP productions, the mentees started shadowing this master. They would always see Manong Junior doing the scale models and then bringing these miniatures into life-sized sets and sceneries. Curiosity led Ignacio to this path. She would ask questions, inquire about the process of producing sets, find out how to make things realistic and experiment with colors and textures to make the design come alive, among others. “While working with Manong Junior, I noticed his hands. I told him that his hands look like my father’s hands,” shared Ignacio in an interview. Bonifacio added that Manong Junior served as a father figure to him and his fellow workers. “As a mentor, he gave us artistic freedom to explore. He allowed us to express our creativity, but he would appraise our works and rectify what we’d done wrong in a very patient way,” he said. Being a backstage crewmember has its share of ups and downs. Sometimes, several productions are scheduled simultaneously, with everything happening all at once. When these happen, the workload could become overwhelming for the crew. “There was a time when work piled up. We didn’t know what we should do first. My mind went blank, and I just cried. But after that, I returned to work as if nothing happened,” said Ignacio. Bonifacio noted a similar experience. “Even if we don’t want to, the nature of the work forces us to be workaholics. Things could get stressful and tiring, but we love what we are doing. That’s why we are still here.” For them, work does not feel like work. They find fulfillment in seeing what they worked hard for and pour their hearts into it. Ignacio’s biggest achievement to date was creating the now-iconic eye balloon for the Cinemalaya Philippine Independent Film Festival 2019. The work was displayed at the CCP Main Building Grand Staircase and became an instant hit as an Instagrammable spot among film enthusiasts. She also did the realistic bibingka and puto bumbong props for Tuloy Ang Pasko. These involved trials and errors, and hearing the compliments and receiving recognition made it all worthwhile. She said, “Manong Junior always told us not to be afraid to keep trying and make mistakes.” [caption id="attachment_185927" align="aligncenter" width="525"] Francisco M. Galvero Jr., with his apprentice Annie Ignacio, preparing the set for a ballet production.[/caption] Bonifacio, who takes pride in his work with the Art House Cinema facade decor and Sinag: Festival of Lights, reveals that he doesn’t see himself as an artist. It was only when his mentor Manong Junior recognized him as an artist that he started pondering about his work. They know that backstage work is rarely recognized, but CCP is paying homage to these unsung heroes through a series of mini-documentaries by filmmaker Joseph Mangat, Backstage Pass. Launched during Cinemalaya 19, the second installment features Manong Junior, who had been working on sets for various CCP productions since the early 1980s. The first release featured the technical theater crew in the lights and flying sections. More Backstage Pass episodes will feature the CCP film technicians, sound crew and costume custodians, as well as venue booking and front-of-house operations. The series also gives viewers a glimpse of the lesser-known careers in cinema and theater work. The post A tribute to people working behind the scenes appeared first on Daily Tribune......»»
Marina Adams debuts in Asia
Longlati Foundation presents Marina Adams’ debut institutional solo exhibition in Asia, In the Garden of My Memory, featuring 11 large-scale acrylic and watercolor paintings and four scroll intaglio monoprints on paper inspired by Chinese folded books. Poetry is a crucial component of Adams’ artistic practice, intertwining language and painting, opening a pathway through its ineffable sensory experience. In the Garden of My Memory is derived from Ted Berrigan’s poem “Tambourine Life.” Perhaps this phrase struck Adams in her studio on a summer afternoon and leapt off the page. Here, it functions as a cryptic invitation, inviting viewers to journey through the artist’s vibrant realm of memories constructed through colors. Like poetry, Adams’ artworks don’t provide specific imagery or narratives, yet they vividly convey her perspectives and contemplation of the world. Impressions drawn from nature, music, fabrics, architecture and literature are transformed into dynamic colors, humming with the physical resonance of individual existence through the canvas as if its structure were a kind of grammar, and light and shadow serve as its tones. These pieces traverse the boundaries of diverse logical fields, directly reaching the channels of individual senses. [gallery columns="2" size="full" ids="180075,180073"] Adams’ creations should be understood as abstract expressionism within the realm of color field painting. On the one hand, she follows the tradition of color field painting, emphasizing the ontological superiority of overall form and color in the painting, thereby discarding the once-prominent symbols and rhetoric. On the other hand, distinct from the typical serenity and meticulousness of color field paintings, she consistently infuses her colors with spiritual energy, imbuing her paintings with vitality. They undoubtedly emanate from the artist’s bodily rhythm, interpreted into live abstractions through brushes and pigments. Adams earned degrees from Tyler School of Art, Temple University, Philadelphia, and Columbia University in New York. She is the recipient of the John Simon Guggenheim Memorial Fellowship (2016) and the Award of Merit Medal for Painting from the American Academy of Arts and Letters (2018). She has participated in various solo and group exhibitions, including the Parrish Art Museum, Water Mill, New York (2021), Modern Art Museum, Fort Worth (2020), Camden Arts Centre, London (2016) and CUE Art Foundation, New York (2008). Marina Adams’ work is in the collections of the MoMA, New York, the Modern Art Museum of Fort Worth, Texas, the Metropolitan Museum of Art, New York, and the Longlati Foundation, Shanghai. She lives and works in New York, Bridgehampton, Long Island and Parma in Italy. Co-founded by David Su and Zihao Chen in 2017, Longlati Foundation is a non-profit organization registered in Hong Kong. It aims to contribute to the development of contemporary art in its diversity. Curated by Jenny Chen Jiaying, In the Garden of My Memory runs from 14 September to 25 October on the third floor of Longlati Foundation, 117 Hong Kong Road, Huangpu District, Shanghai, China. The post Marina Adams debuts in Asia appeared first on Daily Tribune......»»
Wes Anderson says lockdown helped inspire ‘Asteroid City’
Wes Anderson's new film puts Westerns, theatre, 1950s Americana, and an alien into a blender for another of his atypical -- and star-packed -- concoctions that he says is about "reckoning with forces beyond your control". As always, "Asteroid City", which premiered at the Cannes Film Festival on Tuesday, features a roster of actors that reads like a Hollywood phonebook. Tom Hanks, Steve Carell, and Margot Robbie -- newcomers to the Anderson family -- join past collaborators Scarlett Johansson and Edward Norton and regulars like Adrien Brody, Jason Schwartzman, and Tilda Swinton in the film. The one-of-a-kind director never seems too influenced by events in the real world, but he told AFP the Covid-19 pandemic did have an impact. "This movie is certainly informed by the most bizarre viral moment in recent history," he said. "Writing it during this pandemic, in the middle of the most locked-down lockdown, we were not sure we would ever go out again -- so I think that's sorta in it. Hanks is intimidating "Asteroid City" is a bizarre and knotty tale set in a remote desert town where a group of child geniuses is gathered for a science competition that is interrupted by an alien visitor, leaving them locked up in quarantine. But in typically convoluted Anderson form, the desert story is presented as a play being performed in New York. Anderson says he wanted to pay homage to actors, who remain something of a mystery to him, even after working with the biggest names in the business. "Many of the actors are my friends now, but nevertheless they are different on set," Anderson said. "Actors recognize something in each other that normal people don't go through -- this thing of being the one who everyone is going to watch. It has this interesting strange effect. It became part of what the movie is about." Working with Hanks was a joy, he told AFP, though he was initially nervous. "He's a wonderful actor but also a huge movie star... it's intimidating. "But his manner on set is: you suggest something and he says 'Sorry, I should have thought of that.' That encourages you to be better because you're empowered by this person with such an aura." Scarlett's smokey voice One person who is glaringly absent is Bill Murray, who has appeared in all of Anderson's films since "Rushmore" in 1998. "Bill was cast in a part but then he got Covid three days before we were supposed to shoot," said Anderson. "We replaced him very quickly with the wonderful Steve Carell who was great." Luckily, Murray's health improved to come to hang out on set for the last of the shoot, he added, and Carell turns in a hilarious cameo as a hotel owner. What Anderson often loves most about his actors is their voice, something he discovered when he cast George Clooney as the lead in the animated film "Fantastic Mr. Fox". "Only when I recorded George did I realize how much it's about his voice? And that kinda applies to the majority of actors -- so much depends on the voice." Johansson, who did the voiceover for Anderson's "Isle of Dogs" (2018) "has this wonderful, slightly smokey voice," he said. Arguably, no director has ever had a style that is so immediately recognizable as Anderson's: the symmetrical playhouse-like sets, bright colors, and deadpan irony. He can't help it. "There's a way I do scenes that is just me," he said. "It's more like a condition than a choice." The post Wes Anderson says lockdown helped inspire ‘Asteroid City’ appeared first on Daily Tribune......»»
Marcos: Philippines won’t be ‘cowed into silence, submission’ by China
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Philippines sees increase in hotel bookings from overseas in 2023 — report
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Pentagon chief reaffirms support after latest China aggression in WPS
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Philippines logs 40 pertussis deaths this year
MANILA, March 28 (Xinhua) -- Forty children have died of whopping cough, a respiratory infection also called pertussis, since this year, the Philippines' Department of Health (DOH) has reported. The DOH said in a statement on Wednesday that cases have continued to increase since the start of this year, recording 568 cases from Jan. 1 to March 16. "The total number of cases for the same period in 2023 was.....»»
PNVF forms coaching sataff for world meet
Seasoned coach Dante Alinsunurin will make a comeback as one of the deputies for the national men’s team as host Philippines pulls out all the stops to parade a competitive squad against the best of the best in the FIVB Volleyball Men’s World Championships 2025......»»
Iraqis display full might vs Philippines XI
Iraq rained goals on host Philippines in a 5-0 shutout that pushed the Filipinos to the brink in the FIFA World Cup Qualifiers Tuesday at the packed Rizal Memorial Stadium......»»
ANZ raises Philippine inflation forecast to 3.8% this year
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Unlock business success at Franchise Asia Philippines Expo
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Infrastructure projects get better loan terms from Japan
The Philippines has secured better financing terms for two big-ticket infrastructure projects funded by the Japanese government aimed at improving public transport and road connectivity......»»
S& P: Philippines may miss growth goal this year
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Cebu topnotcher shares secret to success: Strong support system of family, friends
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Holy Week 2024: Tabor Hill in Talamban, experience the authentic essence of Via Crucis
CEBU CITY, Philippines – This Holy Week, the Via Crucis, also known as the Stations of the Cross, is one of the most practiced form of devotion among Catholics, particularly in the Philippines. The Via Crucis commemorates the events leading up to the crucifixion of Jesus Christ. It typically involves a series of 14 stations.....»»
Dela Rosa considers war with China but admits: ‘Hindi naman natin kaya’
MANILA, Philippines — Senator Ronald “Bato” Dela Rosa is already fed up with China’s persistent harassments in the West Philippine Sea, prompting thoughts of engaging in war with Beijing. But he knows, war is not an option. “Naubos na ang sasabihin ko dapat dyan. Short of declaring war na tayo dyan against sa kanila e,.....»»
Pertussis or whooping cough: 40 child deaths so far this year – DOH
MANILA, Philippines — Assistant Health Secretary Albert Domingo reported on Wednesday that as of March 16 this year, some 40 children had died of whooping cough — a respiratory infection also called pertussis. An increase in new pertussis cases nationwide had been observed nationwide, with 28 cases reported from March 10 to 16. READ: What.....»»
Capitol mulls putting ‘integrated south bus’ terminal in Talisay instead of at SRP
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