Δευτέρα 10 Μαρτίου 2014

A Donation for Oceans by LeoDiCaprio Foundation!

OCEANA ANNOUNCES $3 MILLION GRANT FROM LDF


Grant, from proceeds of 11th Hour Auction at Christie’s, to protect sharks, marine animals, habitat in Pacific and Arctic



Washington, DC – Oceana, the largest international advocacy group to work on behalf of the world’s oceans, announced a $3 million grant today from the Leonardo DiCaprio foundation aimed at protecting threatened ocean habitat and keystone marine species such as sharks. The foundation’s grant will also support Oceana’s work to advocate for responsible fishing measures, including the effort to ban California drift gillnets.

“The foundation and Leo’s support for campaigns like our efforts to ban the drift gillnets in California will help Oceana win more protections for countless sharks and other marine animals and for ocean habitats in the Pacific and Arctic – which include some of the most productive ocean places in the world,” said Oceana CEO Andy Sharpless. “The net impact will be a much more abundant and biodiverse ocean that has many millions more sharks and critical and amazing marine animals, wilder and more pristine ocean habitats and oceans that can feed over a billion people – many of them hungry – a healthy seafood meal each day.”

“Protecting our planet’s oceans and the marine species that call it home is one of the most pressing sustainability crises facing humanity today and a moral imperative that we must acknowledge,” DiCaprio said. “It’s my hope that this grant will help Oceana continue the tremendous work that they do daily on behalf of our oceans.”

Spread over a three-year period, the $3 million from the Leonardo DiCaprio Foundation is the first marine conservation grant made following the foundation’s 11th Hour Charity Auction hosted at Christie’s last year.  The grant to Oceana will support the organization’s work, from the south of Chile to the north of Alaska, to preserve ecologically important ocean areas and Oceana’s campaigns, including the campaign to ban drift gillnets off California, in order to protect dolphins, whales, turtles and other marine animals from being caught and killed as “bycatch.”

Gillnets targeting swordfish and thresher sharks are set off of Southern California and are typically a mile-long in diameter.  This indiscriminate gear catches and kills large numbers of non-targeted marine animals including sperm whales, gray whales, dolphins, sharks, sea turtles, elephant seals, and sea lions. In response to a Freedom of Information Act request by the National Oceanic and Atmospheric Administration (NOAA), Oceana recently received hundreds of photos of animals caught and killed by this destructive gear. 

“We are incredibly grateful to our friends at Christie’s who made last year’s 11th Hour Auction for the foundation such a success, they made this grant to Oceana possible,” said Justin Winters, Executive Director of the Leonardo DiCaprio Foundation.  “We are excited to support Oceana’s efforts to win real policy change and protection for vital habitats and species throughout the Pacific and Arctic oceans.”

Christie's is proud to support both the Leonardo DiCaprio Foundation and Oceana in their fundamental work to make our planet a better place” said Steven Murphy, Chief Executive Office of Christie’s. “It was an honor for Christie’s to host the Foundation’s 11th Hour Charity Auction and, as we were delighted with the result achieved, so we are thrilled that it could facilitate this grant to Oceana, funding such important endeavors to preserve our oceans.”
https://www.odesk.com/jobs/Leaflet-expert-mockups-PSD-fully-responsive-template_~015fcd061a3915dab9?search_result=1

Πέμπτη 20 Φεβρουαρίου 2014

Για τον Ντοστογιέφσκι, Εσωθέατρο!

Ο Φιοντόρ Μιχαήλοβιτς Ντοστογιέφσκι, μία από τις σπουδαιότερες μορφές της παγκόσμιας λογοτεχνίας γεννήθηκε στις 11 Νοεμβρίου 1821 στη Μόσχα. Ήταν το δεύτερο από τα επτά παιδιά μιας μεσοαστικής οικογένειας. Αμέσως μετά από τον θάνατο της μητέρας του το 1937, ξεκινά μαζί με τον αδερφό του, σπουδές στη Στρατιωτική Ακαδημία Μηχανικών στην αγία Πετρούπολη, σύμφωνα με τις επιταγές του πατέρα του, συνταξιούχου στρατιωτικού χειρουργού. Παρότι σπουδάζει μηχανικός δεν επιδεικνύει κανένα ενδιαφέρον για τα μαθηματικά αλλά αντίθετα, μεγάλο ζήλο για τη λογοτεχνία. Μετά το θάνατο του πατέρα του, εγκαταλείπει τη στρατιωτική ακαδημία και ξεκινά το συγγραφικό του έργο, αρχικά μεταφράζοντας. Το λογοτεχνικό του είδωλο ήταν ο Honore de Balzac, τον οποίο μεταφράζει στη ρωσική. Το 1846, εκδίδεται το πρώτο του λογοτέχνημα «Ο φτωχόκοσμος» αποσπώντας θετικές κριτικές, ιδιαίτερα από τον φιλελεύθερο κριτικό Βησσαρίωνα Μπελίνσκι που δηλώνει πως «ένας νέος Γκόγκολ εφανερώθη!»
Το 1847 εμπλέκεται στον επαναστατικό σοσιαλιστικό-ουτοπικό  κύκλο Πετρασέφσκι ενώ στις 23 Απριλίου του 1849, συλλαμβάνεται για δράση κατά της πολιτικής του Τσάρου Νικολάου Α, με την κατηγορία της συνωμοσίας. Η ποινή του θανάτου μετατρέπεται σε 4ετή εγκλεισμό, στα κάτεργα του Όμσκ στη Σιβηρία. Οι συνθήκες είναι άθλιες και το 1850 συμβαίνει εκεί η πρώτη καταγεγραμμένη επιληπτική του κρίση. Μετά την αποφυλάκισή του παραμένει για πέντε χρόνια ως στρατιώτης στο 7ο τάγμα στο Σεμιπαλατίνσκ όπου και παντρεύεται το 1857 την Μαρία Ντιμιτρίεβα Ισάεβα.
Η περίοδος που διανύει στη φυλακή είναι καταλυτική για την μεταστροφή των πολιτικών και θρησκευτικών του πεποιθήσεων. Στρέφεται προς την χριστιανική, ορθόδοξη παράδοση και αρχίζει να ασκεί κριτική στους μηδενιστές και στους σοσιαλιστές. Το 1859 επιστρέφει στην αγία Πετρούπολη όπου αρχίζει να εκδίδει μια σειρά εφημερίδων μαζί με τον αδερφό του Μιχαήλ, χωρίς επιτυχία. Ο θάνατος του αδερφού του πρώτα, και της γυναίκας του το 1864, τον συντρίβουν.  Καταστρέφεται και οικονομικά, παίζοντας  τζόγο και πέφτει σε βαθιά κατάθλιψη. Για να ξεφύγει από τους πιστωτές, ο Ντοστογιέφσκι αρχίζει να ταξιδεύει στη Δυτική Ευρώπη και να επισκέπτεται τα διάφορα καζίνο.  Εκεί συνάπτει ερωτικό δεσμό με την Πωλίνα Σούσλοβα, αλλά τελικά παντρεύεται τη νεαρή στενογράφο Άννα Γκριγκόρεβνα το 1867, με την οποία αποκτά δύο κόρες και ένα γιο που πεθαίνει σε παιδική ηλικία.
Στην  περίοδο που ακολουθεί γράφει τα σημαντικότερα έργα του. Επιπλέον μια νέα εκδοτική προσπάθεια της μηνιαίας εφημερίδας «Το ημερολόγιο ενός συγγραφέα» στέφεται αυτή τη φορά με μεγάλη επιτυχία. Διατηρεί φιλικούς δεσμούς με το γνωστό φιλόσοφο Σολόγιοφ. Το 1880 εκφωνεί τον επικήδειο του Πούσκιν. Τα τελευταία χρόνια της ζωής του αποσύρεται  σε ένα θέρετρο λίγο  έξω από την Αγ. Πετρούπολη. Πεθαίνει από αιμορραγία στον πνεύμονα εξαιτίας εμφυσήματος στις 28 Ιανουαρίου 1881, σε ηλικία 60 ετών.

Η ζωή του Ντοστογιέφσκι αποτυπωμένη στο «Έγκλημα και Τιμωρία»
«Σπάνια μπορεί κανείς να βρει άλλη περίπτωση συγγραφέα που τα γεγονότα και οι περιπέτειες της ζωής του, να είχαν τόσο άμεση επίδραση στη δημιουργία του, όπως συμβαίνει με τη ζωή και το έργο του Ντοστογιέφσκι» έγραφε ο Δ. Σπάθης στο «Θέατρο» το 1966.
Η σύλληψη της ιδέας για το «Έγκλημα και Τιμωρία» είχε γίνει ήδη από το 1864, όταν ο Ντοστογιέφσκι ήθελε να γράψει ένα μυθιστόρημα με τίτλο «Οι μεθυσμένοι» αλλά δεν βρήκε ανταπόκριση από τους εκδότες, στους οποίους το πρότεινε. Αργότερα, σε ένα γράμμα που γράφει από το Βισμπάντεν στον Κάτκοφ, εκδότη περιοδικού, η ιδέα για το μυθιστόρημα έχει πλέον ωριμάσει και ο τελευταίος πείθεται και του στέλνει τριακόσια ρούβλια. Το έργο αρχικά δημοσιεύεται σε συνέχειες σε μια εφημερίδα που ονομαζόταν Ρωσικός Αγγελιοφόρος (Ruskii vestnik) από τον Ιανουάριο μέχρι τον Δεκέμβριο του 1866.
Η ζωή του Ντοστογιέφσκι έχει συνεχή σκαμπανεβάσματα κι αυτό αποτυπώνεται στα έργα του. Άνθρωπος ο ίδιος των παθών –υπήρξε δεινός χαρτοπαίκτης- περιγράφει πολύ εύγλωττα τους ανθρώπους που ενδίδουν στα πάθη τους.  Η πορεία του Ρασκόλνικωφ είναι παράλληλη με αυτήν του Ντοστογιέφσκι. Ο Ρασκόλνικωφ είναι ένας αντάρτης αλλά στο τέλος, μέσω της Σόνιας, παρότι δεν συμβιβάζεται με τον κόσμο ενάντια στον οποίο εξεγέρθηκε, γεφυρώνει ωστόσο το χάσμα που είχε πρωτύτερα ανοίξει. Ο Ντοστογιέφσκι στα νεανικά του χρόνια συμμετέχει σε επαναστατικούς κύκλους, αλλά σε μια ωριμότερη ηλικία αναθεωρεί τις ιδέες του και μεταστρέφεται σε βαθιά θρησκευόμενο άτομο.
Το 1865, με τη βοήθεια ενός φίλου αστυνομικού που είχε κάποιες νομικές γνώσεις, γλυτώνει  από κάποιο τοκογλύφο. Οι συζητήσεις λοιπόν με τον πρώτο, τον βοηθούν ώστε να περιγράψει την ανάκριση του Ρασκόλνικωφ από τον Πορφύρη,  και να αποδώσει την ένταση της αστυνομικής ατμόσφαιρας. Άλλωστε, την ατμόσφαιρα αυτή, την είχε βιώσει και ο ίδιος, όταν είχε συλληφθεί για την δραστηριότητά του ως μέλος της παράνομης ομάδας του Πετρασέφσκι. Γνώριζε ακόμα από πρώτο χέρι την εξορία στη Σιβηρία, καθώς έμεινε τέσσερα χρόνια στο κάτεργο του Όμσκ. Από την εποχή που βίωσε το μαρτύριο του κάτεργου, ο Ντοστογιέφσκι διατήρησε ανεξίτηλα στη μνήμη του πρόσωπα και χαρακτήρες που κατοικούσαν μαζί του στην κόλαση της φυλακής.
Για να πλάσει τον χαρακτήρα της Σόνιας χρησιμοποίησε ως πρωτότυπο τη Λίζα, από «τις σημειώσεις από το Υπόγειο». Ο Ντοστογιέφσκι  χρησιμοποιεί επανειλημμένα την ιδέα της αγίας πόρνης στα έργα του, έχοντα πιθανώς ως αρχέτυπο τη Μαγδαληνή.
Η μητέρα του πεθαίνει από φθίση, όπως κι η μητριά της Σόνιας στην παράσταση, ενώ η φιγούρα του μπεκρή Μαρμελάντωφ, επαναλαμβάνεται παραλλαγμένη και σ’ άλλα έργα του. Ενδεχομένως, ως πρότυπο να χρησιμοποιήθηκε ο πατέρας του, που φέρεται ότι ήταν αλκοολικός. Σίγουρα, λοιπόν, τα αυτοβιογραφικά στοιχεία βρίθουν στο έργο του Ντοστογιέφσκι και ειδικά στο «Έγκλημα και Τιμωρία».

Πέμπτη 30 Ιανουαρίου 2014

Ο Αλχημιστής, Εσωθέατρο

Το σημείωμα του σκηνοθέτη

Ο Ενωδών αναφέρει -και μας βρίσκει απόλυτα σύμφωνους- πως το θέατρο, στην αγνή του βέβαια μορφή, είναι «Θέα Τριών Κόσμων». Ο θεατής δηλαδή, επικοινωνεί, δια της σκηνικής δράσεως, α) με τον φυσικό-υλικό κόσμο β) με τον συναισθηματικό-ψυχικό και γ) με τους ανωτέρους κόσμους.

Αυτό το θέατρο αγαπάμε, υπηρετούμε και πιστεύουμε κι αυτό το θέατρο είναι ούτως ή άλλως αλχημικό. Θέατρο και Aλχημεία ταυτίζονται ως φύσεις, κατά τον μεγάλο θεωρητικό Αντωνίν Αρτώ, διότι τόσο η αλχημεία όσο και το θέατρο επιδιώκουν στον πυρήνα τους, την μετουσίωση. Η μεν αλχημεία προσπαθεί να μετατρέψει την χονδροειδή, αδρότερη ύλη σε «χρυσό», σε κάτι δηλαδή ευγενές και πολύτιμο, το δε θέατρο επιδιώκει μέσα από την σύγκρουση, την κορύφωση και την κάθαρση να μετατρέψει, τρόπον τινά, τον ίδιο τον άνθρωπο, ώστε δια της διακρίσεως, να μπορέσει να επιλέξει τον δρόμο που οδηγεί απ' το Κατώτερο στο Ανώτερο, είτε εκείνος κατέχει την θέση του θεατή είτε αυτήν του ηθοποιού.

Το ΕσωΘέατρο ανεβάζοντας στην κεντρική του σκηνή τον «Αλχημιστή» του Paulo Coelho, επιτυγχάνει κατά την γνώμη μου, δύο πράγματα. Αφ΄ ενός παραμένει πιστό στον στόχο του για ένα καλό θέατρο κι αφ' ετέρου προσφέρει στους θεατές που το τιμούν με την παρουσία τους, ένα έργο εγνωσμένης αξίας, που πέραν του συγγραφικού και φιλοσοφικού του μεγέθους, διακρίνεται για το πνευματικό βάθος, την απλότητα του ύφους, την καθαρότητα και την ευγένεια του λόγου του.

Δουλεύοντας τεχνικά πάνω στην θεατρική διασκευή και απόδοση του «Αλχημιστή», επιλέξαμε να μείνουμε πιστοί όχι στο «γράμμα» αλλά στην Αλήθεια του έργου, επιδιώκοντας την όσο το δυνατόν αποτελεσματικότερη σκηνική κατανόηση αυτού του πυκνού σε νοήματα, λογοτεχνικού και έμμεσα μυητικού κειμένου. Όσον αφορά στην σκηνοθεσία, φροντίσαμε να είναι αφαιρετική και χωρίς φτιασίδια, ούτως ώστε να αναδειχτεί απρόσκοπτα η ποίηση, η εσωτερικότητα και η δύναμή του.

Η χαρά είναι μεγάλη, καθώς ο «Αλχημιστής» παρουσιάζεται στην χώρα μας για πρώτη φορά, μέσα από τις παραστάσεις αυτές του ΕσωΘεάτρου, σε μια φιλόδοξη –για τα μέτρα ενός μικρού θεάτρου- παραγωγή. Γι αυτό που θα δείτε, εργάστηκαν με πολύ κόπο, αφοσίωση και επιμέλεια, τόσο οι παλαιότεροι όσο και οι νεότεροι ταλαντούχοι ηθοποιοί μας καθώς και οι υπόλοιποι συνεργάτες του ΕσωΘεάτρου. Είμεθα ευγνώμονες.

Τέλος, ευελπιστούμε το αποτέλεσμα να είναι ισάξιο των προηγουμένων, επ' ωφελεία όλων, «υμών και ημών», γιατί όλοι εμείς εδώ στο ΕσωΘέατρο, κάνουμε θέατρο -όπως έλεγε ο δάσκαλος Κάρολος Κουν- …για την ψυχή μας …και την δική σας, συμπληρώνουμε οπωσδήποτε.

Τάσος Προύσαλης

Η υπόθεση του έργου

Ο Αλχημιστής είναι η ιστορία του Σαντιάγο, ενός νεαρού Ισπανού που επιθυμώντας να είναι ελεύθερος να ταξιδεύει, επιλέγει να γίνει βοσκός. «Αγόρασε ένα κοπάδι και γύρισε τον κόσμο, μέχρι να μάθεις ότι το κάστρο μας είναι το πιο σπουδαίο και οι γυναίκες μας οι πιο όμορφες» είναι τα λόγια του πατέρα του. Σύντομα όμως, δεν του φτάνει η ανέμελη ζωή στα βοσκοτόπια της Ανδαλουσίας κι έτσι αποφασίζει να αφήσει πίσω του όσα τον δένουν μ' αυτήν και να επιδοθεί στην αναζήτηση της τύχης του, στην Πραγμάτωση του Προσωπικού του Μύθου. Το έναυσμα γι αυτήν την αναζήτηση δεν είναι παρά ένα όνειρο που τον προτρέπει να ανακαλύψει έναν θησαυρό στις πυραμίδες της Αιγύπτου. Μόλις ο Σαντιάγο παίρνει την οριστική απόφαση να πραγματοποιήσει ένα τέτοιο ταξίδι, ευθύς συναντά κι έναν περίεργο άντρα που αυτοαποκαλείται «βασιλιάς της Σαλίμ», ο οποίος τον ενθαρρύνει περαιτέρω και τον προτρέπει να ακολουθεί πάντα τα σημάδια. Η περιπλάνηση ξεκινά: ο Σαντιάγο μέσω του Γιβραλτάρ, περνά απέναντι στην Ταγγέρη με σκοπό να διασχίσει την Σαχάρα και να βρεθεί στον προορισμό του, στις Πυραμίδες. Ο δρόμος του δεν θα 'ναι δίχως περιπέτειες, ούτε χωρίς κινδύνους. Όμως και πόσες ωραίες στιγμές θα του χαρίσει… πόσους σημαντικούς ανθρώπους θα γνωρίσει: τον έμπορο στο μαγαζί των κρυστάλλων, τον Άγγλο συνοδοιπόρο του, την αγαπημένη του Φατιμά και πάνω απ' όλα, τον άνθρωπο που θα τον διδάξει, τον γέρο- Αλχημιστή… Μετά από μια τέτοια πορεία, ο Σαντιάγο φτάνει τελικά στις πυραμίδες και μετά από μία τελική, σχεδόν θανατηφόρα περιπέτεια-δοκιμασία, ανακαλύπτει πως ο θησαυρός…

 
 
 
 
 
 
 
 

Δευτέρα 23 Σεπτεμβρίου 2013

Λόγια του ποιητή φιλόσοφου Αουρομπίντο για τον Σαίξπηρ

…ο Σαίξπηρ που εφηύρε τον τρόπο να κρατά έναν καθρέφτη απέναντι στην Φύση, ήταν ο ποιητής που δεν καταδέχτηκε ποτέ να σκαρώσει μια απλή κόπια, μια φωτογραφία, μια σκιά. Ο αναγνώστης και ο θεατής που βλέπει στον Φάλσταφ, στον Μάκμπεθ,  στον Λήρ ή στον Άμλετ απλά και μόνο μιμήσεις της φύσης ή δεν έχει εσωτερικό μάτι της ψυχής ή έχει υπνωτιστεί από κάποιο μαγικό ξόρκι.
(Από την ιστοσελίδα του Εσωθεάτρου)

Τετάρτη 3 Ιουλίου 2013

What's the point of structure? By J Krueger!

Every screenwriter is obsessed with structure.  And if you’re a writer, then you’ve probably had the frustrating experience of trying to make sense of at least a dozen conflicting terms and approaches, from Aristotle to Syd Field:
Three Act Structure, Hero’s Journey, Plot, Multiplot, Sequences, Formulas, Archetypes, Turns, Twists, Pinches, Plot Points, Act Breaks, Inciting Incidents, Crisis, Climax, Peripeteia, Denoument , Trick Endings, and so on…
Amidst the onslaught of information, young writers find themselves flailing wildly, trying to understand, mimic and reproduce the “proper” elements of structure, without ever asking the most important question:  what is all this structure supposed to be doing for you anyway? 

The Audience Doesn’t Care About Your Structure

 

Nobody who isn’t a screenwriter has ever left a movie raving about the effectiveness of the Inciting Incident or the proper placement of Plot Point Two.
And no producer has ever bought a movie because of its perfect compliance with the principles of The Contour System’s screenwriting paradigm.
If you want to know what people really care about in movies, just go to your local Blockbuster, and watch the couples fight:  one lover clutching The Godfather and the other insisting on the dramatic merits of Tank Girl.
They’re not fighting over the structure.  They’re fighting over the feeling they want to get from the movie.  That feeling is what we call Genre.

If All Movies Were Good, Genre Would Be The Only Thing That Mattered

 
But most movies are not good.  And most screenplays are not good.
Hollywood has no credibility with its audience.  And screenwriters have no credibility with producers.
You know when you go to a movie that there’s a good chance it’s going to suck.  Which means that if Hollywood wants you to plunk down your 12 bucks, they’ve got to give you some sense of what makes this one special.
Similarly, if you’re going to get a producer to start reading your script, instead of some other from their pile, you’ve got to make them believe, from page 1, that this one might stand out from the pack.
This is what we call Hook: the promise your screenplay makes to its audience, that leads them to take the leap of faith that your movie can deliver the feeling they are so desperately seeking.

So Why Do Most Screenplays Still Suck?

 
Writing is a lot like dating. You see a beautiful girl or guy of the genre you like, get hooked by some aspect of their super-hot appearance, and start to project all kinds of character qualities on them.  You imagine all the exciting experiences you’re going to have together, the feelings you’re going to have in their presence, the ways they’re going to change your life.  You start to build a story in your mind, a plot full of white picket fences, 2 and ½ kids, and a floppy eared dog.  Everything is going just perfectly in your mind… until the object of your affection decides to open their mouth…
Suddenly they’re not so hot anymore.
This is the same mistake many writers make with their screenplays: searching frantically for the “perfect” hook, building a formulaic structure around it, drafting outlines, treatments, beat sheets and pitches… only to find that once their characters start opening their mouths, the whole thing falls apart.
Producers hear a hundred great ideas a day—a hundred potential lovers each with some quality to make them special.  But once they open the pages, if all that’s there is a hot red dress or some rock hard biceps, they’re not going to make your movie.
Hook is the reason that your audience takes a chance on your script.  But it’s not the reason they fall in love with it.  If you want to make your audience fall in love with your screenplay, you’ve got to make them fall in love with your character.  You’ve got to take them on a journey that surprises their expectations, touches something in them, and gives them the feelings their searching for, in ways that they didn’t even see coming.
And that’s why you need structure.

Structure Is Just a Delivery Mechanism For Your Character’s Journey

 
Imagining that you can create a great structure by using a mechanical formula is like expecting to buy a Flowbee and get a real haircut.
That’s why my screenwriting classes focus not on loglines, outlines, beat sheets or other formulaic models to be imposed on the outside, but instead on an organic process by which you can naturally discover the structure of your character’s journey.
A great structure evolves organically, just like a great relationship.  And just like a great relationship, it grows out of character, the choices they make, and the experiences they go through.
It starts when a character opens his or her mouth, and says or does something that you connect to.  And it ends when that character has gone through the most profound journey imaginable in relation to where he or she started the story.
If you learn to listen to your character closely, and how to craft scenes that drive the action of their story, your character will begin to reveal themselves to you in ways that surprise and exceed your expectations.
If you test them with the greatest challenges you can create for them, and with scenes that resonate for you emotionally, the shape of that journey will start to evolve organically, even if you never discover what Peripeteia means.
Along the way, you’ll learn that the real hook doesn’t come from an external idea, but from within your character.  Just like the things that truly make you fall in love have nothing to do with the dress or the biceps, and everything to do with the things you could never have seen in your partner until you really got to know each other.

Τρίτη 5 Μαρτίου 2013

Goodman από το Στούντιο του Εσωθεάτρου!

Ο Κέννεθ Σώγερ Γκούντμαν (1883-1918) παρά το σύντομο βίο του, κατάφερε να μείνει στην ιστορία του θεάτρου: όχι μόνο μέσα από το έργο του αλλά κυρίως επειδή το παλαιότερο θέατρο του Σικάγο, φέρει σχεδόν έναν αιώνα τώρα, το όνομά του.
Ο Γκούντμαν έγραψε ένα μεγάλο αριθμό μονόπρακτων, αλλά επίσης και κάποια μεγάλα θεατρικά έργα μαζί με τον Μπέν Χέχτ και τον Τόμας Γούντ Στήβενς. Η «Σκόνη του δρόμου» (Dust of the road) είναι ένα από τα λίγα έργα του, που άντεξε στο χρόνο, ίσως γιατί  τα διλήμματα που θέτει δεν έχουν πάψει να απασχολούν τον άνθρωπο.
Η συγγραφική του δραστηριότητα τελειώνει με τον θάνατο του, το 1918, εξαιτίας μιας πνευμονίας, απότοκου γρίππης, στη διάρκεια του πρώτου παγκοσμίου πολέμου. Οι γονείς του Γουίλιαμ και Μαλβίνα, δωρίζουν στο Ινστιτούτο Τεχνών του Σικάγο το ποσό των 350.000 δολαρίων, εις μνήμη του γιου τους, προκειμένου να δημιουργηθεί εκεί, επαγγελματικό θέατρο και να λειτουργήσει δραματική σχολή ενώ παράλληλα αναθέτουν στον αρχιτέκτονα Χάουαρντ Βαν Ντόρεν Σω την υλοποίηση του έργου.
Στις 5 Ιανουαρίου του 1925 αρχίζει να λειτουργεί η σχολή ενώ στην εναρκτήρια τελετή για το θέατρο, στις 20 Οκτωβρίου 1925, θα παρουσιαστούν τρία έργα του Γκούνμταν : «Στην πίσω αυλή» (Back of the yards), «το πράσινο τραπεζομάντηλο» (The Green Scarf), και «η παρτίδα σκάκι» (The Game of Chess). Ο Τόμας Γουντ Στήβενς, σκηνοθέτης, στενός συνεργάτης και προσωπικός φίλος του Κέννεθ Γκούντμαν θα ηγηθεί τόσο του θεάτρου όσο και της δραματικής σχολής.
Η σχολή και το θέατρο ανέδειξε, καθόλη τη διάρκεια του 20ου αιώνα, ορισμένους από τους πλέον σημαντικούς αμερικανούς ηθοποιούς. Με το θέατρο αυτό λοιπόν, συνεργάζονται καταξιωμένοι συγγραφείς και σκηνοθέτες όπως για παράδειγμα ο Ντέϊβιντ Μάμμετ, ο «Αμερικάνικος Βούβαλος» του οποίου, κάνει παγκόσμια πρεμιέρα στο Goodman theatre, στη δεκαετία του 70. Πάνω από την είσοδο του θεάτρου Γκούντμαν, ο επισκέπτης μπορεί να διαβάσει: «Για να διατηρηθεί η παλιά πείρα και να αποκτηθεί νέα», μια φράση-έμπνευση για όλους τους ανθρώπους του θεάτρου και της τέχνης γενικότερα.

Σάββατο 5 Μαΐου 2012

The Magic Kingdom Of Disney's

Magic Kingdom is one of four theme parks at the Walt Disney World Resort located near Orlando, Florida. The first park built at the resort, Magic Kingdom opened Oct. 1, 1971. Designed and built by WED Enterprises, the park's layout and attractions are similar to Disneyland Park in Anaheim, California. In 2010, the park hosted approximately 17 million visitors, making it the most visited theme park in the world.
Dedication
Walt Disney World is a tribute to the philosophy and life of Walter Elias Disney... and to the talents, the dedication, and the loyalty of the entire Disney organization that made Walt Disney's dream come true. May Walt Disney World bring Joy and Inspiration and New Knowledge to all who come to this happy place ... a Magic Kingdom where the young at heart of all ages can laugh and play and learn — together.
—Roy Oliver Disney, 25th October 1971
History
Construction
See also: utilidor
Although Walt Disney himself had been highly involved in planning The Florida Project, The Walt Disney Company began construction on Magic Kingdom and the entire resort in 1967 after his death. The park was built similarly to the existing Disneyland in California but was built in a larger area and improved upon the design of Disneyland in several ways.
There are several anecdotes relating to reasons for some of the features of Walt Disney World, and Magic Kingdom specifically. According to one story, Walt Disney once saw a Frontierland cowboy walking through Tomorrowland at Disneyland. He disliked that the cowboy intruded on the futuristic setting of Tomorrowland and wanted to avoid situations like this in the new park.Therefore, Magic Kingdom was built over a series of tunnels called utilidors, a portmanteau of utility and corridor. These tunnels allow employees (aka cast members) to move through the park out of sight from guests, maintaining the show's cast.
Because of Florida's high water table, the tunnels could not be put underground, so they were built at the existing grade. This means that the park is actually built on the second story, giving Magic Kingdom an elevation of 107 feet (33 m). The area around the utilidors was filled in with dirt removed from the Seven Seas Lagoon, which was being constructed at the same time.
The utilidors were built in the initial construction and were not extended as the park expanded. The tunnels were intended to be designed into in all subsequent Walt Disney World parks, but these plans were mostly set aside because of financial constraints. Future World at Epcot and Pleasure Island each have a smaller network of utilidors.
Opening
Magic Kingdom opened as the first part of Walt Disney's planned Florida Project on Oct. 1, 1971. It was the only theme park on the resort at the time and opened concurrently with two hotels on the property: Disney's Contemporary Resort and Disney's Polynesian Resort. The park opened with 23 attractions, three unique to the park and 20 copies of attractions at Disneyland. The Walt Disney Company promised to increase this number with more attractions like those in Disneyland as well as more unique ones. The attractions were split into six themed lands, five copies of those at Disneyland and the unique Liberty Square.
While there is no individual dedication to Magic Kingdom Park, the dedication by Roy O. Disney for the entire Walt Disney World Resort was placed within its gates.
Since opening day, Magic Kingdom has only been closed for five incidents: Hurricane Floyd, the September 11 attacks, Hurricane Frances, Hurricane Charley, and Hurricane Wilma.
Naming confusions
Magic Kingdom had often been used as an unofficial nickname for Disneyland Park before the Walt Disney World Resort was built. The official tagline for Disneyland is The Happiest Place On Earth, while the tagline for Walt Disney World's Magic Kingdom is, The Most Magical Place On Earth. Despite the similarities, the Florida park's tickets have always borne the official name of Magic Kingdom. In 1994, in order to differentiate it from Disneyland, the park was officially renamed to Magic Kingdom Park but is most often simply called Magic Kingdom. Like all of Disney's theme parks it does not take an article ("the"), however it is a common mistake to see it described as such. The sign on the railroad station at the front of the park erroneously states "The Magic Kingdom."
Transportation and Ticket Center
See also: Walt Disney World Monorail System
The layout of the resort places Magic Kingdom more than a mile away from its parking lot, on the opposite side of the man-made Seven Seas Lagoon. Upon arrival, guests are taken by the parking lot trams to the Transportation and Ticket Center (TTC), which sells tickets to the parks and provides transportation connections throughout the resort complex. It also has a small gift shop and the central lost-and-found facility for all four theme parks.
To reach Magic Kingdom, guests either use the Walt Disney World Monorail System, the Staten Island-style ferryboats, or Buses depending on the location of their hotel. The three hotels closest to Magic Kingdom, Disney's Contemporary Resort, Disney's Polynesian Resort, and Disney's Grand Floridian Resort and Spa use either the ferry or monorail system to travel to Magic Kingdom. Guests staying at Disney's Wilderness Lodge and Disney's Fort Wilderness Campground can also ride a dedicated ferry boat to the Magic Kingdom docks. The other hotels take the buses to travel to this specific park. The three ferries are clad in different trim colors and are named for past Disney executives: the General Joe Potter (blue), the Richard F. Irvine (red) and the Admiral Joe Fowler (green).
The main monorail loop has two lanes. The outer lane is a direct nonstop loop between the TTC and Magic Kingdom. The inner loop has additional stops at Disney's Contemporary Resort, Disney's Polynesian Resort and Disney's Grand Floridian Resort & Spa. Epcot is accessible by a spur monorail line that was added upon that park's opening in 1982.
Lands of the Magic Kingdom
Main article: Magic Kingdom attraction and entertainment history
Further information: List of attractions at the Walt Disney World Resort
The park map lists 46 attractions in six themed "lands." Designed like a wheel with the hub in front of Cinderella Castle, pathways spoke out across the 142 acres (0.57 km2) of the park and lead to these six lands. The Walt Disney World Railroad runs along the perimeter of the park and makes stops at Main Street, U.S.A. and Frontierland.
Main Street, U.S.A.
Main article: Main Street, U.S.A.
Instead of being a replica of a small Midwestern American town, Main Street at Magic Kingdom features some stylistic influences from around the country. Taking its inspiration from New England to Missouri, this design is most noticeable in the four corners area in the middle of Main Street, where each of the four corner buildings represents a different architectural style. There is also no opera house on Magic Kingdom's Main Street as there is at Disneyland; instead, there is the Town Square Theater. Also, this is where Christopher George Weaver, the "mayor" of Main Street U.S.A., and one of the park's most important figures, resides.
Main Street is lined with shops selling merchandise and food. The decor is early-20th century small-town America, inspired by Walt Disney's childhood and the film Lady and the Tramp. City Hall contains the Guest Relations lobby, where cast members provide information and assistance. A working barber shop gives haircuts for a fee. The Emporium carries a wide variety of Disney souvenirs such as plush toys, collectible pins and Mickey-ear hats. Tony’s Town Square Restaurant and The Plaza Restaurant are table-service locations. Casey's Corner is at the end of Main Street and sells traditional American ballpark fare including hot dogs and fries. The Main Street Confectionary sells sweets priced by their weight, such as candied apples, crisped rice treats, chocolates, cookies and fudge.
Most windows on Main Street bear the name of people who were influential at Walt Disney World or other Disney parks. An example of a classic Main Street, U.S.A. attraction is the Walt Disney World Railroad, which transports guest throughout the park, making stops at Main Street, U.S.A. Fantasyland, and Frontierland. The railroad's previous stop at Mickey's Toon Town Fair was replaced by the Fantasyland stop in 2012.
In the distance beyond the end of Main Street stands Cinderella Castle. Though only 189 feet (55m) tall, it benefits from a technique known as forced perspective. The second stories of all the buildings along Main Street are shorter than the first stories, and the third stories are even shorter than the second, and the top windows of the castle are much smaller than they appear. The resulting visual effect is that the buildings appear to be larger and taller than they really are.
Symbolically, Main Street, U.S.A. represents the park's "opening credits". Guests pass under the train station (the opening curtain), then view the names of key personnel along the windows of the buildings' upper floors. Many windows bear the name of a fictional business, such as "Seven Summits Expeditions, Frank G. Wells President", with each representing a tribute to significant people connected to the Disney company and the development of the Walt Disney World Resort.
The park contains two additional tributes: the Partners statue of Walt Disney and Mickey Mouse in front of Cinderella Castle and the Sharing the Magic statue of Roy O. Disney sitting with Minnie Mouse in the Town Square section of Main Street, U.S.A. Both were sculpted by veteran Imagineer Blaine Gibson.
Adventureland
Main article: Adventureland (Disney)
Adventureland represents the mystery of exploring foreign lands. It is themed to resemble the remote jungles in Africa, Asia, the Middle East, South America and the South Pacific, with an extension resembling a Caribbean town square. It contains classic rides such as Pirates of the Caribbean and Jungle Cruise.
Frontierland
Main article: Frontierland
Frontierland is where guests can relive the American Old West – from cowboys and Indians, to exploring the mysteries of the Rivers of America. Frontierland contains classic attractions such as Big Thunder Mountain Railroad, Splash Mountain, and the Country Bear Jamboree.
Liberty Square
Main article: Liberty Square (Magic Kingdom)
This area of the park is based on an American Revolutionary colonial town. The Magic Kingdom's Rivers of America hosts the Liberty Belle riverboat. Liberty Square is home to The Haunted Mansion and the Hall of Presidents.
Fantasyland
Main article: Fantasyland
In the words of Walt Disney: "Fantasyland is dedicated to the young at heart and to those who believe that when you wish upon a star, your dreams come true." Fantasyland is themed in a medieval-faire/carnival style.
Attractions include "it's a small world", Peter Pan's Flight, The Many Adventures of Winnie the Pooh, Mickey's PhilharMagic, Snow White's Scary Adventures, Prince Charming Regal Carrousel, and Mad Tea Party.
Expansion
The land is currently undergoing a large expansion and renovation. "The New Fantasyland will be constructed in phases with most new experiences open by late 2012."
Recent conceptual artwork for the expansion shows several new additions and changes. Included is a new dark ride themed to Disney's 1989 film The Little Mermaid (also opened at Disney California Adventure). The ride is going through testing, and will be released after the Storybook Circus. There will also be an area themed to Disney's 1991 film Beauty and the Beast featuring The Beast's Castle with a new dining experience, Gaston's tavern, and Belle's cottage.
Snow White's Scary Adventures will be removed and an area themed to Disney's 1937 film Snow White and the Seven Dwarfs will be built. It will feature Snow White's cottage and The Seven Dwarfs mine train roller coaster ride, the first rollercoaster to move in a wobbling motion on track. Princess Fairytale Hall, a new Disney Princess meet and greet will be established where Snow White's Scary Adventures currently exists.
Mickey's Toontown Fair closed permanently in February 2011 in order to make way for the expansion. Some elements of Mickey's Toontown Fair will be demolished and others will be re-themed to a new Storybook Circus area. An expanded Dumbo the Flying Elephant ride will be built with an interactive queue. A second Dumbo the Flying Elephant will be built next to it in order to increase capacity. The Barnstormer at Goofy's Wiseacre Farm was re-themed to The Great Goofini."A Casey Jr. mini-water park will be released soon. A big top area will be built for meet-and-greets.
Storybook Circus
Storybook Circus, part of the aforementioned Fantasyland expansion is currently in progress. It is located at the former site of Mickey's Toontown Fair. Attractions include The Great Goofini and Dumbo the Flying Elephant, which was removed from its current location in Fantasyland on January 8, 2012 and an expanded duplication is being built here. Storybook Circus began soft openings on March 12, 2012. The rest of the area was opened on March 31, 2012. On the map, this is part of Fantasyland.
Tomorrowland
Main article: Tomorrowland
In the words of Walt Disney: "Tomorrow can be a wonderful age. Our scientists today are opening the doors of the Space Age to achievements that will benefit our children and generations to come. The Tomorrowland attractions have been designed to give you an opportunity to participate in adventures that are a living blueprint of our future."
Tomorrowland is themed to be an intergalactic city; a concept of the future as seen from around the 1950s: rockets, UFOs and robots, etc. Classic attractions include Space Mountain, Carousel of Progress, Astro Orbiter, Tomorrowland Transit Authority and the Tomorrowland Speedway. Other current attractions include Stitch's Great Escape, Buzz Lightyear's Space Ranger Spin and Monsters, Inc. Laugh Floor.
Former lands
Mickey's Toontown Fair
Main article: Mickey's Toontown Fair
An expansion of the land created as Mickey's Birthdayland, and later Mickey's Starland, this area was home to attractions such as Mickey's Country House, Minnie's Country House, The Barnstormer at Goofy's Wiseacre Farm, and Donald's Boat.
This land closed permanently on February 12, 2011 to make way for the expansion of Fantasyland. The Walt Disney World Railroad station in Mickey's Toontown Fair was closed for the duration of the construction.
Planned film
Director Jon Favreau and Walt Disney Pictures plan to produce and release a film concerning a family at Disneyland which finds the theme park characters and attractions coming to life.
Favreau, who said "the Disney iconography was probably the first set of archetypes that I was exposed to" and that Disney movies and attractions "made a deep impression on me as a child", noted that, "When I first heard about the ['Magic Kingdom' film] project, I was on my way to visit Disneyland with my family. I took notes and had no problem filling a book with all the ideas that this concept offered, even on first blush."
Marc Abraham and Eric Newman of Strike Entertainment are scheduled to produce the film. Writer-producer Ronald D. Moore had previously written an original script for the project, which the studio eventually declined to use, stating that Favreau and a new screenwriter will develop a new script. On June 20, 2011, Spider-Man 2 story contributor, Michael Chabon signed on to write the film's script.

Παρασκευή 2 Δεκεμβρίου 2011

K-19 The WidowMaker!

In 1959, the Soviet Union launches its first ballistic missile nuclear submarine, the K-19 — nicknamed "The Widowmaker" due to the many deaths that occurred during its construction. The ship is led by Captain Alexei Vostrikov (Harrison Ford), aided by executive officer Mikhail Polenin (Liam Neeson). Polenin and the crew have served a number of years and missions together but Vostrikov's appointment is shown to be aided by his wife's political connections; her uncle is a member of the Politburo. During an early inspection, Vostrikov discovers the officer in charge of the sub's nuclear reactors to be drunk and asleep on-duty. Against Polenin's advice that the man is "the best reactor officer in the fleet", Vostrikov sacks the officer and orders Polenin to request a replacement. The new reactor officer arrives direct from the naval academy and has never been at sea. During the K-19's official launch, the bottle of champagne doesn't break when it strikes the bow; the sailors glance nervously at each other due to this renowned sign of bad luck.
K-19 puts to sea for her trials. Vostrikov orders a series of diving maneuvers and during these, asks Polenin to simulate a number of emergencies including fires and flooding while he times the crew's response. He is not happy with their performance. There are a number of minor accidents during these exercises which result in injuries to crew-members. In addition, Vostrikov points out to Polenin that the crew are too slow and slipshod in their reaction and completion of these exercises. The crew begin to grumble about Vostrikov's demanding orders and authoritarian manner, but Polenin silences them when he visits the crew's quarters: "I heard there'd been some complaining. I thought, 'Not from my crew. Not on my boat'." Meanwhile, Vostrikov blames the officers for the crew's under-performance, accusing them of being soft on the men and lacking leadership.
The crew's performance improves and Vostrikov decides to carry out the K-19's first mission, which is to surface in the Arctic and fire an unarmed ("test") ballistic missile. Vostrikov orders the K-19 to submerge to maximum operational depth (300 metres), then surface rapidly at full-speed to break through the Arctic pack-ice which he estimates to be no more than 1 metre thick. Polenin regards this maneuver as dangerous and, during the surfacing procedure, storms off the bridge. After scraping along the underside of the ice, the K-19 finally breaks through and surfaces with no apparent damage. The test missile is launched successfully and the crew are both relieved and exhilarated by Vostrikov's bold maneuver. The crew are allowed some time off during which they play soccer on the ice and a group photograph is taken. Talking privately with Polenin, the sub's political officer expresses some confidence in Vostrikov, but Polenin asserts that the captain was "lucky today, that's all."
K-19 then receives new orders, to sail down through the North Atlantic and patrol off the US east coast "between Washington and New York." As the K-19 sails southwards a pipe carrying coolant to one of the reactor cooling system springs a leak and then bursts completely. The control rods are inserted to stop the reactor but without coolant the reactor temperature continues to rise rapidly. Polenin and the radiation officer are shocked to discover that back-up coolant systems have not been installed. Vostrikov orders the K-19 to surface so that he may contact Fleet Command and inform them of the accident and await orders. But upon surfacing they discover the long-range transmitter on the conning tower is damaged and they are unable to contact headquarters — Vostrikov assumes, ruefully, his surfacing maneuver in the Arctic caused the antenna damage.
The officers and crew-members in charge of the reactor discuss options. The radiation officer informs them that if the reactor temperature exceeds 1000° Celsius it will result in a thermonuclear explosion and may trigger the detonation of the sub's nuclear warheads as well. They have about 3–4 hours before this happens. Some suggest sending out a distress call on the sub's short-range transmitter and abandoning and scuttling the ship. Vostrikov is against this idea. Pavel, the radiation officer's assistant, suggests they can pipe the K-19's drinking water into the reactor to cool it. But they need to set up a system of pipes to transfer the water. Vostrikov approves the plan and the crew work feverishly, cannibalizing the sub to construct the piping system. The final phase requires sailors to enter the radiation-filled reactor room to weld the pipes together. In order to restrict exposure to the deadly, leaking radiation, they require three teams of two, working for no more than ten minutes at a time. Vostrikov calls for volunteers. Pavel and another crewman, Anatoly Zubachev volunteer to be the first team, but Vostrikov has to order others into the reactor. He orders the radiation officer in as part of the last team, to inspect the success of the welds. Polenin and the radiation safety officer then discover the K-19 has no radiation suits, only chemical suits. "They might as well wear raincoats!", exclaims Polenin. Nevertheless, with no other option, he lies to the men and tells them the chemical suits will protect them.
The first team enter the reactor and begin welding. Emerging ten minutes later and removing the suits, they are both suffering from severe radiation poisoning and are carried to their quarters where the doctor attends to them. The second team enters. Meanwhile, on the bridge, the captain, officers and crew monitor the reactor temperature which is climbing steadily. In the reactor room, the second team emerges just as badly poisoned as the first and are carried away. It is time for the third team to go in, but the radiation officer is overcome with fear and cannot bring himself to enter the reactor, despite the urgings of Polenin. Chief engineer Gorelov volunteers to go in his place. They complete the welding and to everyone's relief the reactor temperature begins to fall — the plan seems to have worked. But the submarine is beginning to fill with radiation as the reactor door is now breached, to allow the coolant pipe access. Polenin wants to seek help from a nearby NATO base on Jan Mayen. Vostrikov refuses to surrender his boat or crew and orders the K-19 to sail towards the USSR, under radio silence, in the hope that they will meet up with another Soviet submarine; Polenin is doubtful this plan will succeed as it relies on luck.
Vostrikov is informed that a helicopter is approaching; he and some of the crew climb out onto the deck, thinking a Russian ship has come to save them, only to discover that it is a US Navy helicopter from a nearby US destroyer. The destroyer is asking if the K-19 requires assistance. Vostrikov orders a reply in the negative; the men on the deck notice a crewman in the helicopter photographing them, and they drop their trousers and bare their buttocks at him. The helicopter flies away. Vostrikov refuses to allow the Americans anywhere near K-19. The US destroyer follows them at a discreet distance.
The chief petty officer (CPO) meets with the K-19's political officer in private. The CPO reminds the political officer that he is empowered to remove Vostrikov as captain, if he judges Vostrikov to be jeopardizing the mission. After a few hours and no 'friendly' ship sighted the weld connecting the temporary coolant pipe to the reactor fails and the reactor temperature again begins to rise dangerously. The radiation officer dons a useless safety suit and enters the reactor alone to fix the broken weld. Vostrikov again orders the K-19 to submerge, rather than abandon ship, angering the men. As the K-19 dives some torpedo fuel, spilled when the torpedo was stripped for pipes, ignites and causes a fire in the aft torpedo room. Polenin appears to doubt the captain, but goes forward to supervise the men fighting the fire. When he is gone the CPO and political officer produce pistols, point them at Vostrikov and the political officer announces he is replacing Vostrikov with Polenin as captain of the sub, and to surface immediately. Vostrikov is handcuffed to a ladder. With the torpedo room fire extinguished, Polenin returns and is told what has happened. "Good," he says and asks for the CPO and political officer to hand over their weapons to him. They do so and Polenin immediately orders Vostrikov to be released and the CPO and political officer to be placed under arrest, which they are. Polenin admonishes them for the attempted mutiny and re-asserts that Vostrikov is the captain of the K-19.
Vostrikov then attempts to re-order the crew of the K-19 to submerge, but Polenin interrupts him to say "Don't order them; ask them." Vostrikov explains the situation. If the reactor and the ballistic missiles explode while the K-19 is surfaced, the resulting nuclear blast will destroy not only the K-19 but also the nearby US navy ship and, most likely, the NATO base as well. As the K-19 has not been able to inform anyone in the outside world of her predicament, all the USA, Russia or anyone else will know is that a huge nuclear explosion has destroyed a US warship and NATO base. It could trigger World War III. The crew appreciate their wider duty and prepare to dive deep and scuttle the sub. But the radiation officer has spent 18 minutes in the reactor successfully fixing the weld, and the temperature begins to drop again as Vostrikov himself and other crewmen drag the fatally poisoned officer from the reactor. Just as Vostrikov orders the men off the boat so that he can scuttle it, they are rescued by another Soviet submarine. Vostrikov wants to move his crew to the other submarine, away from the radiation, but permission is not granted. He moves the crew anyway. Polenin warns him that he will be sent to the gulag, just like his father, for disobeying orders. Vostrikov smiles and says, "Its a family tradition, isnt it?" Afterwards, in an inquiry of the events, Polenin speaks highly of him. The inquiry acquits Vostrikov of any wrongdoing in the end, but he is never given command of another sub again.
An epilogue shows an aged Captain Vostrikov in 1989, putting on his dress uniform in a small flat and catching a train to meet up with Polenin. It is exactly 28 years after the accident; the Berlin Wall is shown to be coming down. Vostrikov grumbles about the inconvenience but Polenin informs him this is the anniversary of the day they were rescued. The commanders enter a cemetery where a number of the surviving K-19 crewmen are gathered by a gravesite. We learn that this is the first time the K-19 survivors have met since the incident, they were ordered never to meet or discuss the incident after the inquiry. Vostrikov is visibly moved as he greets the men and informs them that he nominated the men now dead of radiation poisoning (28 in total) for the distinction of Hero of the Soviet Union, but was told they were not "worthy" of the title as they died not in battle, but as the result of an accident. The men drink a toast to their deceased comrades.
(from Wikipedia)

Πέμπτη 28 Ιανουαρίου 2010

Aπό τον Σαίξπηρ

Τόσο γλυκό φιλί ο χρυσαφής ο ήλιος δεν χαρίζει
στην πρωινή δροσιά που κάθε ρόδο στην καρδιά φυλάει,
όσο η ματιά σου που αστραφτερά φωτίζει
το βραδινό μου δάκρυ που στο μάγουλο κυλάει.
Δεν φέγγει ούτε το μισό η αργυρή σελήνη
μες στη διάφανη του απείρου αγκαλιά,
όσο η όψη σου που ανέλπιστα φως δίνει
στα μάτια μου που υγραίνονται σταλιά με τη σταλιά.
Κάθε μου δάκρυ άμαξα που εσένα ταξιδεύει
κι έτσι θριαμβικά περνάς καβάλα στον καημό μου,
κοίταξε, όμως, μέσα μου ο πόνος πως θεριεύει
καθώς τα δάκρυα κύματα δείχνουνε τον χαμό μου.
Αλλά μην κολακεύεσαι, γιατί μετά - σ'το λέω -
καθρέφτης σου τα δάκρυά μου, κι εγώ πάλι θα κλαίω.
Βασίλισσα μοναδική! Τόσο ανώτερη, τόσο μεγάλη,
που νους δεν το στοχάζεται, γλώσσα θνητού δεν ψάλλει!
(Αγάπης αγώνας άγονος IV. 3)