An image from “Political Mother” which I chose for its ring of light, leading the dancers along a circle.
King James I, England’s persona of power when Shakespeare’s play was first staged.
Another larger-than-life image of a Lear-like character, decked out in his finest robes and a crown.
An Iron Age coin with horses on its face, symbolic of power and status.
An Iron Age hut — a version of our hovel, perhaps?
Archie Armstrong, jester to King James I.
An Iron Age village.
“Angels in America” at Wilma Theatre.
The empty stage, much like ours, forces the actors to create their own universe.
“Angels in America” at Wilma Theatre.
What does Lear see when he looks out his window at his kingdom each morning?
“‘Tis the times’ plague, when madmen lead the blind.”
He definitely works the gun-slinging, hardcore, masculine leader image.
“if, on the tenth day following,
Thy banish’d trunk be found in our dominions,
The moment is thy death.”
“My face I’ll grime with filth;
Blanket my loins: elf all my hair in knots;
And with presented nakedness out-face
The winds and persecutions of the sky.”
“Our basest beggars
Are in the poorest thing superfluous.”
“‘Tis our fast intent
To shake all cares and business from our age;
Conferring them on younger strengths, while we
Unburthen’d crawl toward death.
Does Lear have a throne? What does it look like?
“These late eclipses in the sun and moon portend no good to us.”
“There is a cliff, whose high and bending head
Looks fearfully in the confined deep.”
“‘Faith, once or twice she heaved the name of ‘father’
Pantingly forth, as if it press’d her heart.”
What does the kingdom look like at the end of the play, with corpses scattered around the stage, Edgar left with only a few surviving characters.
“The weight of this sad time we must obey;
Speak what we feel, not what we ought to say.
The oldest hath borne most: we that are young
Shall never see so much, nor live so long.”
Two Old Men, by Fransisco de Goya, 1819-23
Shepherd of the Landes, Germaine Richier, 1951. “Richier characteristically merged and modified the human form with elements of his surroundings. Its eroded surface reflects the artist’s belief that ‘perforations conduct like flashes of lightening onto the material,’ and the resulting blasted and scarred figure appears to bear witness to contemporary tragedy.”
The Staff, 1962, by ELT Mesens. “The Staff uses cigarette cards of English footballers, though their celebrity is undercut by the blanking out of their eyes. The title has military connotations (as in the ‘general staff’).”
Seated Man, 1949, by Alberto Giacorneti. “Like his sculptures, Giacometti’s portaits emerged from immense scrutiny of his subjects, and a process of continually reworking the image in order to record his shifting visual impressions. Seated Man depicts his brother Diego, one of Giacometti’s frequent models, but even this familiar face became an object of investigation and discovery for the artist, who commented ”When he poses for me I don’t recognize him.'”
Head I, 1965, Philip Guston.
Man in a Wheelchair, 1959-62, by Teon Kossoff. “The model of this painting was the painter John Lessore, who sat for Kossoff once or twice a week for three years. For most of that time, Kossoff recalled, he concentrated on developing the subject through drawings.”
The Entire City, 1934, by Max Ernst. “A crumbling city looms oppressively below the ring-shaped moon. Ernst made a whole series of such works. The imagery may reflect his pessimism as Nazism took hold in his native Germany. The ruined cityscape was created using a technique that Ernst called ‘grattage’ (scraping).”
Small White Pebble Circles, 1987, by Richard Long. “Since 1967 Long has produced sculptures using natural materials which he collects during his long cross-country walks. Sometimes they are assembled in the same rural sites in which he finds the materials, sometimes he brings them inside the gallery spaces. Long has described the subject of his work as ‘a balance between patterns of nature and the formation of human abstract ideas, like lines and circles. It is where my human characteristics meet the natural forces and patterns of the world.”
Bacchus, by Henri Matisse. “Red is the color of wine, but also of blood, and these canvases encompass both the sensual pleasure and violent debauchery associated with the god. This contrast is echoed in the paintings’ combination of euphoric loops that soar upwards and vermilion floods of paint that ooze and cascade down the canvas. The unfurling gestures of these paintings were made, like Henri Matisse’s works in old age, with a brush affixed to the end of a pole, which lends them their vitality and scale.”
Most Iron Age shields were made of wood, leather and metal. As the wood and leather decay, metal parts such as the boss or rim bindings remain.
The earliest centers of development included the Rhineland and adjacent areas of eastern France, where new art was used to decorate for the rich and powerful. Exotic patterns, such as classical palmettes and lotus flowers, were not slavishly copied, but borrowed, adapted, and rearranged in new designs. They were used alongside “oriental” masks and animals, and geometric motifs including some elaborate compass-drawn patterns. In the fourth century BC, Celtic art emerged. It featured strings of triskeles (three-limbed whirligigs) and wave tendrils. Known as the Waldalgesheim Style, it occurs in a wide variety of objects found from Britain to Hungary.
This is a reconstructed roundhouse. People in Britain first lived in roundhouses in the Bronze Age and they continued to be used in the Iron Age. Most roundhouses were built from local materials. Walls were made out of wattle and daub and sometimes, sone and turf. Roofs were thatched with reeds or straw. They were not of consistent sizes throughout the Iron Age. Most were small, between five and eight meters across, but they could be up to 15 meters across. Most had a fireplace in the center. Rectangular houses were more common after the Roman conquest.
Hillforts, like Maiden Castle in Dorset, were built during the Iron Age across Britain. Hillforts were constructed on hilltops and they had large earth walls, or ramparts, and ditches. They probably served a number of purposes, as settlements, for defense, as meeting places and as locations for religious ceremonies.