The Trapeze Artist is a new play by Paul Bilic opening at Tara arts Theatre Studio on April 22 and running on April 22, 24, 28, 30, May 2, 4, 6, 8 at 7.30. It tells the story of how Kafka’s manuscripts ended up in Oxford, which is where they are housed to this day. At Kafka’s death in 1924 his close friend Max Brod was supposed to burn all his remaining manuscripts, but Brod disobeyed Kafka’s request and published them. Brod took the manucripts with him when he fled Prague on the final train before the Nazis moved in. He kept them in Palestine until 1956 when Marianna Steiner, Kafka’s niece, returned them to Europe where she had them housed in a bank vault in Zurich. A chance encounter between Michael Steiner, Marianna’s son and a student at Oxford, and Malcolm Pasley, an Oxford German don, in 1961 meant that Pasley contacted Marianna Steiner and was given permission to drive the manuscripts across the alps and house them at the Bodleian library Oxford.
‘The Trapeze artist’ , directed by Hannah Pantin, takes this story and splices it in with ‘ First Suffering’ one of Kafka’s shorter fictions, to produce an original and physical piece of theatre. On April 28 Michael Steiner, Kafka’s nephew now in his late 60s, will be attending the performance. For more information visit www.tara-arts.co.uk
The Journal of the Northern Renaissance (www.northernrenaissance.org) is a new peer-reviewed, open-access online journal dedicated to the study of early modern Northern European cultural production. The journal will be alert to the full variety of early modern cultural practice, publishing articles on literature, the visual arts, philosophy, theology, political theory and the scientific technologies of the Northern Renaissance. It places a special emphasis upon interrogating the Southern European derivation of our inherited paradigms and delineating the significance of alternative cultural geographies. Although it is anticipated that attention will converge upon the fifteenth, sixteenth and seventeenth centuries, the journal is particularly open to attempts both to challenge existing periodizations of the Renaissance in the North and to establish continuities with earlier and later epochs. Continue reading
?What does H.F. stand for? It’s an abbreviation
for Happy Few.
?And who are the Happy Few? Explaining it’s not easy,
for the Happy Few can’t be described.
Whilst few in number
they come from every race sex & nation
epoch age society status
From the rich & from the poor
(but, if born poor, they usually stay that way,
and, if born rich, soon end up poor)
from the young & the old (yet
it’s seldom they get here in time to get old)
from the beautiful and from the ugly (although it’s true that,
even when they’re vulgarly regarded as ugly,
in REALITY they’re beautiful; but REALITY
is rarely visible….
Well then. Impartially, to be fair,
we’ll certify here, in good faith,
that the H. F., all of them, are always
even if, for the most part, people can’t see it).
Anyway, it’ll do for the present
explanatory preamble to note
that amongst their many & various forms there are
the exalted and the notorious, the anonymous and the hidden
(although, in the case of the famous, Celebrity doesn’t
generally show any great hurry to embrace them while they’re alive,
taking greater pleasure in seizing them in its posthumous grip,
once they’re already
deceased). Continue reading