![]() ![]() ![]() KINO SYDNEY (almost Europe, LOL), Australia: 3. ![]() May (free, register by May 25 via email in French) May 2022 (register here in French, register in English) May ( Sold out after a lottery of participants) We try to stay loyal to the ones who came first. Instead communicate with the original kinoites and integrate. Refrain from creating competing Kino cells in the same cities. If you are a kino-kabaret-manager and want your event to be listed here, write us an email: kinoberlino(ät) - One kino cell per city is enough, please. Dave is the manager of KinoBerlino, a veteran kinoïte (with 101 KinoKabarets under his belt) and award-winning director. This calendar is maintained by Dave Lojek since 2015. However, actors should be allowed to perform in their native tongue to retain a certain quality in the films. All other Kabarets are open for English to include all foreigners and create a communicative atmosphere. But do your audience a favor and write good screenplays anyway! We always encourage film talents to register very early and get cheap flights! Events in French-speaking regions or countries tend to attract people with a slight reluctance to speak English. Most KinoKabarets are open for everyone (true to the original kino philosophy of microcinema) until event capacity is reached. While I focus on Europe, I also list a few events beyond my continent. Join the big open filmmaking kino community! Basically you gather international talents and enable them to make short films for the cinema under time pressure with available ressouces in a collaborative spirit. Single show tickets: $12 student, $25 adult, $22 senior, available online now at TIX on the Square and at the Timms Centre box office one hour before each performance.“European” -) International KinoKabarets Venue: Timms Centre for the Arts, University of Alberta $5 preview performance on Wednesday, Mar 23 at 7:30 p.m. ![]() So many talents are brought together to make a world appear and the story contained in that world unfolds before the audience, breathing only in the ephemeral time frame of a live performance.ĭates: Mar. Starting with an empty space, some carefully crafted words on paper, and the extraordinary gifts of actors, designers, technicians, we make something out of nothing. Photo by TJ Jans.Īfter years of directing, I still find the unique alchemy of making theatre a special kind of miracle. I am always appreciative of Drama’s superb staff and faculty when I work at Studio Theatre. I have relished the collaboration with superbly talented MFA designer, Hannah Matiachuk, who is responsible for the luminosity of the physical production. Sarah Feutl and Corben Kushneryk with Morgan Grau in The Kaufman Kabaret by Hannah Moscovitch (March 2016). It has been a gift to work with this lovely group of graduating BFA actors who have brought to the process such extraordinary dedication, energy and skill. It was important to me to keep the image of the poor as a constant presence in the staging of the piece, and the virtuosity of the acting company furthered the chance to realize the hovering presence of the underclass within the cabaret framework. Is he a kind and generous benefactor to his poor employees? Or is he a ruthless opportunist dedicated to race purification? Indeed the script is full of provocative questions about morality, feminism, social welfare, medical ethics and sexual politics, all presented in a meta-theatrical surround. At the centre of the story is the enigmatic A. Hannah has given us an amazingly rich palette with its many layers of theatricality, and a plethora of intriguing characters, some real, some invented. In addition to the fact that she is such an accomplished and imaginative playwright, one of the delights of working with Hannah has been her openness to the cast she honoured their ideas from the beginning of the process. When you are accorded the privilege and challenge of directing the work of a master playwright, the process of script evolution and the shaping of the production is intense and rewarding.Ĭollaborating with Hannah Moscovitch on this relatively unknown episode of Canadian history has been a rush for all of us. Knowing that your team is the first to bring to life an untold story is a special kind of thrill. One of the great pleasures of directing for the theatre is working on an original script. For reason number 25 in our 50 Reasons to Go See A Play series, director Kathleen Weiss speaks to how the making of a world premiere performance is such a special theatre occasion for artists, technicians, administrators and audiences. Studio Theatre patrons will be the first audiences to see The Kaufman Kabaret by Hannah Moscovitch (March 24 – April 2, 2016), the story of the first entrepreneur to introduce birth control devices to married working-class women in Canada. ![]()
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