The  adaptation  of  a  story  from  one  means  of  culture  to   another  is  a  tricky  business.

Comparison  is  inevitable  and  in  the  vast  majority  of  times, the  original  form  wins  the  battle  in  the  heart  and  mind  of  the  audience.  

The  stage  adaptation  of  the  classic  Barry  Levinson’s  1988  film  “Rain Man”  that  runs  at  the  Apollo  Theatre  is  an  ambitious  effort  to  place  the  moving  story  of  the  Babbitt  brothers  in  a  three  dimensional  space.

The  result  is  more than  satisfactory. In  certain  cases, even  more  interesting  than  the  original  movie, as  far  as  the  setting  is  concerned.

This  play  is  American  actor’s  Josh  Hartnett  first  time  to  work  in  the  West  End  theatre.

 Overall, his  performance  is  satisfying  but  without  anything  exceptional  in  it. In  fact, his  approach  to  the  role  brings  to  mind  Tom  Cruise’s  performance.

 It  seems  that  Hartnett  has  not  interpreted  the  character  through  his  own  personal  angle, instead  he  partially  imitates  Cruise’s  acting.

The  lines  do  not  always  come  naturally  to  him  and  the  long  pauses  between  the  dialogues  occasionally  seem  artificial  and  redundant.

This  is  unfortunate  given  the  fact  that  Charlie  Babbitt  is  a  role  quite  suitable  for  him.

On  the  other  hand, Adam  Godley’s  approach  of  the  mentally  disabled  Raymond  is  remarkable. Godley  has  succeeded  in  avoiding  the  imitation  of  the  sublime  Dustin  Hoffman.

To  the  contrary  he  handled  the  difficult  and  extremely  demanding  role  of  an  artistic  savant  in  an  excellent  manner. Particularly  during  the  fits  he  gives  an  outstanding  performance.

Raymond  is  clearly  the  star  of  the  show. He  creates  the  feeling  of  sympathy  to  the  audience, firstly  because  of  his  condition  and  his  inability  to  understand  and  cope  with  things  that  we  all  take  for  granted.

But  his  character  is  multidimensional  since  he  is  the  one  to  cause  laughter  to  the  audience.

Adam  Godley  managed  to  incarnate  Raymond  in  a  natural, real  and  authentic  manner  without  copying  his  predecessor  who  happens  to  be  one  of  the  greatest  actors  of  all times.

 Except  Adam  Godley’s  performance  the  most  astonishing  about  the  theatrical  adaptation  of  this  Hollywood  movie  is  the  setting.

The  fact  that  ‘Rain  Man’  is  actually  a road  movie  makes  it  even  harder  to  be  enacted  on  a  motionless  and  static  stage. However, the  stage  designer, Jonathan Fensom, has  achieved  the  unattainable.

The  limitations  of  the  theatre  are  lifted, while  the  audience  faces  a  transforming  setting. In  every  scene  the  surrounding  of  the  actors  changes  in  order  to  adopt  to  the  scenario’s  needs.

The  use  of  an  adjustable  tiled-coloured  frame  gives  the  impression  of  a  real  wall.

This  technique  makes  the  audience  believe that  there  is  indeed  a  three  dimensional  setting  almost  like  in  real  life.

This  play  is  an  example  of  how  to  avoid  the  blankness  and  stability  of  a  minimal  setting.

Overall, it  is  a  well-developed  try  to  enact  a  road  movie  in  the  confined  space  of  the  theatre  stage.

Yet, among  the  small  crowd, there  were  the  future  members  of  a  band  that  had  great  impact  on  the  development  of  rock  music.

This  is  the  gloomy  and  tragic  tale  of  a  group  that  ceased  to  exist  before  gaining  worldwide  fame.

This  is  the  story  of  Joy  Division.

Exercise  One

Ian  Curtis, Peter  Hook, Bernard  Sumner and  Stephen  Morris, after  adopting names  like  Stiff  Kittens  and  Warsaw, became  officially  Joy  Division  in  1977.

In  1978  they  released  their  first  EP  An  Ideal For  Living and  appeared  at  Tony  Wilson’s  show  Granada  Reports.

Tony  Wilson, except  from  being  a  journalist, was  one  of  the  owners  of  the  famous   Manchester  based  record  label  Factory Records.

New  Dawn  Fades

In  April  1979  and  after  signing  to  Factory  Records, Joy  Division  began  recording  their  debut  album  Unknown  Pleasures. The  band  was  lucky  enough  to  have  Martin  Hannett, the  eccentric  music  genius as  producer.

Unknown Pleasures is  darker  than  anything  that  has  been  recorded  till  that  time.

While  many  contemporary  punk bands  used  to  be  very  aggressive, Joy  Division  paved  their  own  way  by  embracing  introversion, darkness  and  inner  decadence.

(S)he’s  Lost  Control

The  core  of  the  band  was  its  enigmatic  and  peculiar  singer/songwriter, Ian  Curtis.

Curtis  was  a  versatile  talent. Growing  up  with  David  Bowie and  Iggy  Pop as  his  idols, he  aspired  to  become  a  musician  as  well.

Introvert  and  cyclothymic, he  was  divided  between  his  career  and  family  obligations  since  he  got  married  at  19  and  had  already  a  daughter.

His  lyrics, emotionally  charged  depicted  pain, inner  degradation  and  the  personal  quest  of  the  individual.

A  basic  element  that  marked  him  out  of   other  singers  was  his  frantic  and  convulsive  dance  moves  inspired  by  his  illness, since  he  was  suffering  from  epilepsy.

Heart  and  Soul

In  the  beginning  of  1980,  Joy  Division  recorded  the  follow-up  to  Unknown  Pleasures. The  result  was  the  magnificent  but  bleak  Closer.

With  extensive  use  of  synthesizers  and  even  more  mournful  disposition Closer dived  deeper  into  the  darkness  echoing  beautiful  elegies.

Curtis, lyrically fell  into  the  abyss  of  his  personal  Golgotha  and  fooled  everyone  by  making  his  close  friends  and  relatives  believe  that  his  words  were  nothing  but  plain  poetry.

A Means to an End
On  the  18th  of  May  1980, before  the  release  of  Closer, Ian  Curtis  blinded  by  his  despair  and  incapable  of  making  a  choice  between  his  mistress  and  his  wife  he  decided  to  take  his  own  life.

His  suicide  left  an  irreplaceable  void  in  music  industry  and  Joy  Division disbanded. The  remaining  members  soon formed  New  Order.

The  Eternal
Despite  the  fact  that  Joy  Division  lasted  only  three  years  and  released  two  albums, many  people  acknowledge  their  contribution  to  music  and  continue  to  cherish  the  memory  of  this  unique  sound.

Unfortunately  we  can  only  guess  what  would  have  happened  if  the  end  had  not  come  so  soon.

For  the  past  thirty  years  he  has  dedicated  himself  to  music, painting  and  poetry, the  most  significant  parts  of  his  life.

Dirk  currently  resides  in  Athens, Greece and  feels  that  this  change  will  trigger  his  spirit  off  to  search  for  new  inspiration.

Autoportrait

Born  half  a  century  ago  in  Holland, Dirk  Polak  started  his  quest  for  artistic  knowledge  at  a  very  tender  age.

His  family  provided  him  with  full  support  and  prompted  him  to  take  accordion  lessons, an  instrument  that  holds  a  dominant  position  in  the  music  of  Mecano.

Mecano  was  formed  in  the  late  ‘70s  and  made  their  stage  debut  in  the  summer  of  ’79.

The  band  consisted  of   Dirk  Polak, Ton Lebbink, brothers Tejo and Cor Bolten  and Pieter Kooyman.

But  only  after  very  few  years  of  being  active  and  releasing  only  one  album the  band  decided  to  split. Ever  since  they  have  been  reuniting  from  time  to  time.

“Mecano  is  not  just  a  band” says  Dirk, “ it  is  a  movement  and  we  do  many  things, write  poetry, make  paintings.”

The  name  of  the  band  comes  from  a  model  construction  kit  named  Meccano, that  was  invented  in  England  in  1901.

Dirk  justifies  the  choice  of  name: “Music to  me  is  like  a  mechanical  toy. It  is  constructed  and  sometimes  deconstructed  as  well.”

To Life’s Reunion

When  our  conversation  comes  to  his  close  friend  the  director  Theo  Van  Gogh, who  was  brutally  murdered  for  making  a  film  on  fundamentalism  his  voice  quivers  in  his  remembrance.

It  was  the  death  of  his  best  friend  that  triggered  his  desire  to  reform  the  band  after  many  years  of  inactivity.

I  ask  him  if  there  is  anything  he  regrets  after  nearly  thirty  years  from  the  forming  of  the  band, concerning  his  music  career.

“Not  really,” he  states  without  any  hesitation, “we  were  always  independent. This  means  the  way  you  go  is  much  more  difficult, but  at  least  you  do  not  have  to  say  thank  you  to  a (record) company. We  say  thank  you  to  the  audience.”

It  seems  like  the  muses  never  gave  up  on  Dirk.

Based  on  Frank  McGuinness‘  translation, Ralph  Fiennes  has  the  lead  role  of  the  tragic  hero  that  shook  the  audience  with  his  outstanding  performance.

The  stage  of  the  Olivier  Theatre  is  round  just  like  the  original  amphitheatres  of  ancient  Greece. The  setting  is  minimal  but  immense  at  the  same  time.

Only  a  long  wooden  table  with  a  few  seats  and  a  huge  gate  that  revolves  to  anywhere  on  the  stage. 

The  lights  go  out  and  Ralph  Fiennes  appears, with his  head  shaved  wearing  a  modern suit. He  is  confident, presumptuous  and  arrogant  like  a  true  king  who  ignores  that  fate  will  soon  lead  to  his  fall. 

He  becomes  one  with  king  Oedipus  and  bewitches  the  audience  with  his  performance.

Soon  enough  the  minor  characters  and  the  chorus  appear. 

The  chorus  consists  of  old  men  that  sing  their  dismal  songs  wondering  about  the  being  of  their  king. 

Clare  Higgins  plays  the  role  of  Jocasta, Oedipus’  wife  and  mother. She  is  astonishing  when  facing  the  horrible  possibility  that  her  husband  is  the  child  she  gave  birth  to  many  years  ago  but  had  to  give  away  in  order  to  avoid  the  fulfillment  of  the  oracle.

As  the  play  progresses, the  audience  notices  the  development  of  Oedipus’  character  and  his  fall  from  a  mighty  king  to  a  tragic  hero  who  can  not  come  to  terms  with  his  fate.

Tragedy’s at Hand

The  most  powerful  moment  of  the  play  is  undoubtably  right  before  the  big  finale  when  Fiennes  appears  after  blinding  himself  in  his  bloody  and  torn  shirt, while the  blood  running  from  his  eyes  covers  his  face.

Oedipus  is  a  role  that  requires  well-developed  acting  abilities  in  order  for  the  actor  to  capture  and  express  the  true  passion  and  tragic  dimension  of  the  fallen  king.

Fiennes  succeeded  in  embracing  the  character  and  portraying  it  in  an  exceptional  way.

The  original  aim  of  the  play  was achieved. Catharsis  was  accomplished  and  the  audience  left  with  a  feeling  of  completion.

Zhang Xiaogang, born in 1958, is a contemporary Chinese symbolist and surrealist painter, whose paintings can be found these days in London’s Saatchi gallery.

His most acknowledged work is the Bloodline series, which feature black and white paintings of Chinese people in a photography-like perspective.

The persons depicted are stiff and peculiar. Their most prominent feature is their large eyes with an empty and fixed look.

His paintings seem to be real-life portraits of people from the Maoist era, photographed by an old black and white camera.

Occasionally some colourful highlights can be spotted, whose interpretation is open to question.

However, what is most striking about Xiaogang’s images is the emptiness that is reflected on people’s eyes.

It is said that the eyes reflect one’s soul, but the artist in this case intended to convey a different meaning.

The people look like irresolute agents, devoid of feeling and uniqueness but deep down they are suffering from suppressed emotional turbulence.

His Untitled paintings feature the portraits of a young man and a young woman respectively.

Both have the empty, persistent stare that makes them look dehumanized, almost like robots.

In addition, the resemblance between the two faces is uncanny. They have the exact same empty eyes and long nose, while their lips are firmly sealed creating a strict expression.

They seem so similar, that if it wasn’t for the hair it would be impossible to define their sex.

This emphasizes the idea of uniformity and equality that characterizes communism.

Furthermore, the use of pink and yellow patches on the left side of their faces is significant.

The artist possibly wants to make a connotation with the leftist political ideas of his country. The illuminated left side could be interpreted as an ironic comment on the state of things.

The painting A Big Family, depicts a mother with her two children, a boy and a girl.

Once again, they all have the same empty gaze. What differentiates this painting form the others is that the boy’s head is painted red, a colour associated with left-wing and revolution.

Again there are also yellow patches on the left side of their faces. Greater impression though cause the thin red lines that connect them.

There are two lines that begin from the boy’s heart and are connected with the hearts of the two women. The other two lines begin from the chin of the women and go behind their backs.

The symbolism of the line could be the spreading of the communist theories that pass from the one person to the other through brainwash.

The painting My Dream:Little General features a young boy dressed as a general but completely naked from the waist down.

This makes a connotation with the army led by Mao and the civil war of China

The fact that the boy is naked points out the difference between the seeming reality and what lies underneath the appearance and the image that social figures are promoting.

This little boy dreams of becoming a general so he dresses up like one but in reality he is nothing but a kid.

The contradiction between the upper and lower part of his body is a way for the artist to show the juxtaposition of appearance and the inner emotional stripping.

Punk is raw, aggressive energy. But what happens if we add a spice of minimal art in the standard recipe?

Specialists would found a term like post-punk or art-punk to describe this new hybrid and rock sound would never be the same again, when a ‘pink flag’ waved in the music horizon.

History

The Wire were formed in London in 1976 by Gilbert, Gotobed, Lewis and Newman.

These four guys made an attempt to interpret punk, which was at its glory that time, in a different and alternative way. They adopted simplicity and tried to avoid the clishes of rock.

Their first live was at “Roxy”, a new punk haunt, supporting the Jam and it is said that this concert was so awful that the owner of the club told them not to set foot in there again unless they learn how to play music.

Later, after another disastrous gig the band members decided to redefine themselves and turned their “inadequacy” to their advantage.

The new, improved Wire wrote extremely fast the 50% of their debut and best album ever, “Pink Flag” and signed a contract with EMI.

“Pink Flag” was released in December ’77 and no one could allege that it was just another simple punk album.

The group succeeded in not to imitate the trend of the time but created something original and unique.

Casting an ironic glance at punk, the Wire composed a plain, but noisy sound surrounded by abstract and obscure lyrics.

After a while, “Chairs Missing” followed, the most radical album of their career, full of atmosphere and novelties. However, while recording their third album “154”, the band members were in state of war and the tension between them resulted in their first break up, in 1980.

Since then they have reunited and broken up another two times (right now they are considered active), releasing other albums of lower potential.

During 1990, after the temporary departure of the drummer Gotobed, the rest renamed the band to Wir, a name that did not last for long (even though they released one album under it), since Gotobed joined the band once more.

Legacy

Wire’s influence on rock music is of major importance. Even though their albums had rather mediocre sales, they have gained the general recognition and influenced the evolution of music at a great degree.

From My Bloody Valentine and Mission of Burma to R.E.M. and Elastica (which apparently ‘borrowed without permission’ the riffs of “Three Girl Rumba” for their hit single “Connection”), a plethora of bands have acknowledged Wire’s influence on their music.

  The  magic  of  classic  guitar’s  sound  is  uncanny. The  melody  created  by  its strings  can  have  the  utmost  sweetness  and  create  a  sentimentally  charged  atmosphere.

   Andrew  Stroud  and  Adam  Larison  from  the  United  States, managed  to  cause  all  the  above  during  their  gig  at  Westminster  University’s  Area  51. After  years  of  studying  classic  guitar  the  two  men  have  turned  this  simple  instrument  to  a  means  of  conveying  emotions.

   Dressed  in  black, with  a  serene  expression  on  their  faces, they  seemed  vulnerable  and  charming  under  the  intense  stage  lights.

In  the  beginning, the  duo  concentrated  in  European  composers. The  gig  started  with  a  prelude  and  fugue  by  Tedesco. Sad  but  so  delicate  at  the  same  time, it immediately  touched  the  viewer.

The  duo  continued  with  a  Marcello’s  composition, initially  written  for  oboe, but  transcribed  by  Bach  for  harpsichord. It  was  a long  and  intriguing  song  that  caught  the  attention  of  the  audience.

The  two  guitars  were  tangled  in  a  beautiful  way, completing  each  other  and  creating  a  perfect  match.

After  that  they  played  a  personal  favourite  “The  Tondailla” by  Spanish  composer  Rodrigo. With  heavy  Spanish  influences  and  distinct  sounds, this  composition  was  enchanting  and  thrilling.

Later  on, the  two  guitarists  played  a  composition  by  Franck  that  featured  a  peculiar  melody.

Afterwards, the  playlist  included  Assad’s  “The  Complete  Summer  Garden  Suite.” A  song  that  produced  a  series  of  images, since  it  was  written   as  a  soundtrack  to  a  film.

   Finally, the last composition  was  an  all-time  classic, Rossini’s  “The  Barber  of  Seville”  that  was  executed  in  a  very  vivid  and  skilful  manner.

Then  the  lights  were  turned  on  but  the  magic  still  lingered  in  the  room  for  a  while. Yet, music  that  soothes  the  soul  is  never  enough.     

There are a few outfits that just never go out of fashion. Some garments are destined to become classic and preserve their glamour regardless of the steady flux of time.

The trench coat undoubtedly belongs to this category since it is an indispensable part of every wardrobe.

Not to mention its unisex form that makes it enjoy great popularity in both men and women.

The creator of the trench coat was the famous Thomas Burberry. Burberry had invented the gabardine fabric back in the late 19^th century, that was a tough and tightly woven cloth.

Its name comes from the word ‘gaberdine’ which refers to a long loose overgarment tied at the waist.

Later, in 1901, Burberry submitted a design for an army officer’s raincoat to the United Kingdom’s War Office, based on his invention.

This was the first step for the spreading of a brand-new article of clothing that was destined to invade people’s wardrobes and conquer the world.

In the Army Then

History indicates that trench coats were widely used by British and French soldiers during the First World War.

This led to the modification of the standard model in order to adjust itself to the military needs.

The new, improved trench coat included shoulder straps for the attachment of epaulettes or other rank insignia and D-rings for hand grenades or other equipment to the belt.

As far as the name is concerned, it was not given by the designer but by soldiers which apparently found this new item of clothing quite practical and useful for the life in the army.

Trench coats remained fashionable even after World War II and were adopted by women as well.

Today they are available in a variety of styles and colours since their prestige remains indisputable and universal.

Popular Culture

As a consequence of their widespread popularity trench coats have also won a place in popular culture.

The detectives of the film noirs wore them.

Agents Mulder and Scully in the ‘X-Files’ series almost never neglected to put their trench coats on.

Their black leather version is associated with the film ‘Matrix’ and the gothic subculture in general.

And in the end who can forget Humphrey Bogart in ‘Casablanca’ in his typical beige trench coat?

The bottom line is that even in an ever-changing field like fashion certain things are bound to stay all-time classic because of their style, elegance and utility.

We ‘ll always have trench coats…

Graham Evans and Gavin Parry’s exhibition ‘Spaces of Enclosure’, that was held in Westminster’s Gallery West this November, is a challenging exhortation for contemplation of the spaces of our everyday environment.

What is thought-provoking about this exhibition is the fact that objects and places that people take for granted transform into unique and meaningful entities.

Graham Evans

Graham Evans, having lived in Cairo, Egypt for four years he had the opportunity to take a series of pictures depicting parked cars in the streets of the African city, wrapped in colourful and peculiar covers.

“Cars are significant because they are symbols of freedom,” states the artist when asked about his choice of theme for the exhibition.

According to him there is a specific narrative to these cars, because when covered in their protective shrouds, they lose their hard outlines of modern design and become more personal.

In fact, the juxtaposition of the products of the age of modernity and the old-fashioned patchwork cloths is remarkable.

It is significant to point out that these pictures depict cars that have lost their masculine side since they are wrapped in vivid and colourful cloths.

Instead, they become more feminine, personal and even kitsch but they are different in a very cozy way.

Gavin Parry

Gavin Parry’s photographs for this exhibition depict waiting rooms most of which seem abandoned and decadent.

The viewer can not help but internalize the sense of melancholy and decline that characterizes these empty rooms.

They are places where people sit hoping for something either to or not to happen.

The images convey a bleak atmosphere, accompanied by a sense of expectation.

In certain pictures, there is a striking opposition between the decaying surrounding and the almost unused vivid red chairs.

As the artist says, “these places await for the human fulfillment of their meaning.”

Finally, the exhibition features a video of Parry’s photographs of Victoria Baths. The sense of decadence is once again present in his work.

The video is a linear sequence of pictures of Victoria Baths depicting the abandonment and neglect of people.

The corroded walls and posts, the broken doors and stained windows create a feeling of dereliction for a place that once was full of life and human presence while now it is left to fall apart.

Spaces of enclosure are present all around us, even though sometimes they are invisible or supplanted by the fixed notion of space.

The  official  explanation  was  that  they depicted  images which  are  offensive  to  children  and  certain  religious  groups.

The  two  artists, Cheryl  Gould  and   Jonathan  Hutchins, whose  paintings  were  removed  from  the  gallery’s  walls  expressed  their  annoyance  concerning  the  incident.

In  their  opinion  there  is  nothing  obscene  or  offensive  in  their  work. As  Cheryl  Gould  said: “This sort of work is part of our culture and heritage, there is nothing that is overtly sexual in any way.”

On  the  opposite  side, councilor Chris Mote  who  is  the  head  of  the  Harrow  Arts  Centre  justified  the  decision of  the ban.

He  stated: “I don’t want to take the risk of offending some groups. It may be artists feel I’m being unfair, but I’m not. I am trying to be fair and equal to everyone”.

As  a  consequence, Hutchins decided to replace his paintings in the exhibition, but  Gould and her partner Roy Rogers, a former president of the art society who also took part in the exhibition, have pulled out in protest.

Atrocity Exhibition

This  incident  raises  once  again  the  issue  of censorship  in  art.

Over  the  centuries, there  has  been  innumerable  cases  of  banning  works  of  art  on  the  grounds  of  being  provocative  and  dangerous  for  society.

In  specific, the  movement  of Impressionism was  the  first  to  introduce  nudity  in  paintings.

Later  on, back  in  1907, Picasso was  the  one  to  shock  the  public, exhibiting  “Les Demoiselles  D’ Avignon”.

The  painting  depicted  five  naked  prostitutes  in a  brothel. As  a  result, he  caused  great  controversy  to  the  early  20^th century  society.

In  addition, the Dada movement  that  rose  at  this  period,  shook  the  conservative  minds.

Marcel  Duchamp, a  pioneer  artist  associated  with Dada, turned  his  back  to  the usual  form  of  art.

His  most  famous  work, the “Fountain”, is  nothing  more  but  a  simple  urinal  with  his  signature  on.

Ever  since, art  has  evolved  a  lot  and  in  a  variety  of  ways.

The  fact  is  that  nowadays  contemporary  society  is  not  shocked  so  easily  as  people  have  become  more  open-minded.

But  there  are  still  cases  of  censorship  that  undermine  the  freedom  of  the  artist  and  put  barriers  to  creative  expression.

After  all, the  key  point  about  art  is  its  purpose  to  stimulate  the  mind  with  spurs  that  stir  imagination  and  intrigue  thought.