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Archive for the 'News' Category
GAME OVER (ITA) + EUPHORIA (USA) – Europe Tour to Pieces 2017
Posted: July 4, 2017 in News, Uncategorized
After touring over the U.S.A., Japan and China, the face ripping Italian thrashers announce a new run over Europe. This time, promoting the newest EP 'Blessed Are The Heretics', and together with the American Sci-Fi thrashers of Euphoria. See below some words from Ziro, guitarist:
"We are beyond stoked to be on the road again in a few months. So far we released three albums and we are going to play songs from all of them, plus "Blessed Are The Heretics" which is the title track of our newest E.P., which came out last April. We'll prepare a hell of a setlist to satisfy your thirst, that's a promise. Expect some ear-piercing-violence, EVERY NIGHT!"
Available dates in November.
Interested promoters get in touch through: contact@roadmasterbooking.com
+Game Over (Italy – Thrash Metal) – One of the best newcomer Thrash acts around, Game Over are the Italian titans of the genre. Now releasing their newest EP 'Blessed are the Heretics', they promise to devastate Europe with killer nights everywhere!
Listen: https://youtu.be/OgW1_FmugBg
Follow: https://www.facebook.com/GameOverThrashMetal/
+Euphoria (USA – Sci-Fi Thrash Metal) – impressive thrash act hailing from Detroit, Euphoria could be related to bands like Vektor or Voivod. Anyway it wouldn't be quite precise, due to their authenticity. Unique, cosmic, futuristic – while paradoxically sounding retro at the same time -, and energetic. Euphoria can't wait to spread their well acclaimed debut album 'Operation:Genesis' for the European thrash metal legions. Ambitious violence!
Listen: http://www.euphoriadetroit.bandcamp.com
Follow: http://www.facebook.com/euphoriadetroit
RIPPER + ENTRENCH: Forgotten Existence Eurotour 2017
Posted: May 17, 2017 in News, Uncategorized
Among the best albums of the genre in the last years, the releases of this young band gave them quickly a strong reputation around the world. After working with some of the most respectable labels in Europe and North America, and being acclaimed as the newest revelation of South America thrash/death scene, now it's time to show it on European stages. Roadmaster Booking is proud to announce the first European Tour of the Chilean thrashers of RIPPER.
Teaming up we with them the Swedish thrashers of ENTRENCH. Also touring for the first time after over 10 years crafting their devastating thrash/death and now releasing their brand new album 'Through the Walls of Flesh'.
Available dates between September 15 and 30.
Booking via contact@roadmasterbooking.com
About the tour, Patricio Spalinger, singer and gitarrist of Ripper, says:
"This tour is a reward for the years of effort and time that has been dedicated to the band. It is a goal that we wanted to fulfil, like many others that are ahead. I am happy to know that we will share with another culture and meet people who could enrich our experience. About the setlist, as this is the first time, we want to show the best of Raising the corpse and Experiment of Existence, we are also willing to show new songs from our next album The Unreal"
+Ripper (Chile – Thrash/Death Metal) – Released by renowned labels such as Dark Descent/Unspeakable Axe (US) and Iron Pegasus (GER) this young band went straight to the top of actual South American Thrash/Death scene. Considered one of the best albums of genre in the last years, Experiments of Existence was highly acclaimed worldwide as a gift for any metalhead into aggressive thrash/death metal acts like Sadus, old Sepultura, Sadus and Demolition Hammer. After touring several times over Chile, Ecuador and Bolivia, it's finally time to show their rage on the European stages!
+Entrench (Sweden – Thrash/Death Metal) – Since 2005 they have perfected their brand of ancient thrash/death metal. With two albums out and a third – Through the Walls of Flesh – coming this summer through I Hate Records, Entrench promises to blow the minds of Merciless, Dark Angel and Kreator fans!
BLASPHERIAN + INCARCERATION: Black Flames of Catharsis Tour 2017
Posted: April 26, 2017 in Available, English, News, Uncategorized
Tags: Blaspherian, Booking Agency, Dark Descent, Death Metal, Europe, FDA Rekotz, Incarceration, Roadmaster, Tour
The American Death Metallers BLASPHERIAN and Brazilian/German Duo INCARCERATION are joining forces with Roadmaster Booking to tour over Europe during next Autumn.
The 'Black Flames of Catharsis Tour 2017' is already confirmed to German NRW Deathfest and has dates available between September 22 – October 7. Interested promoters please get in touch via contact@roadmasterbooking.com
+BLASPHERIAN (USA – Death Metal) – With a string of successful releases on labels including Deathgasm, Iron Bonehead and Blood Harvest, this satanic Death Metal entity returns to Europe to spread their upcoming full-length to be released via Dark Descent. A must for anyone into Incantation, Immolation and Deicide – you know what to expect!
Listen: https://www.youtube.com/watch?v=5Ho7Vfdr3U8
See: https://youtu.be/z9aXqqN0OXw
Follow: https://www.facebook.com/BLASPHERIAN
+INCARCERATION (Brazil/Germany – Death Metal) – After touring over 12 countries with bands including Dead Congregation, Unaussprechlichen Kulten, Escarnium, and appearing at festivals such as Party San (Ger), Killtown (Den) Obscene Extreme (Cz), Incubate (Hol), Siege of Limerick (Ire), Incarceration follows the promotion of its new album Catharsis. This time presenting its new duo line-up. Killer death metal assault for die-hards into Repugnant, Repulsion, Sadistic Intent, and old Sepultura/Slayer!
Listen: https://youtu.be/jH24ykGyoOc
See: https://youtu.be/MPxnluw5Gic
Follow: https://www.facebook.com/incarceration
Booking: contact@roadmasterbooking.com
Visit: http://www.roadmasterbooking.com
KRYPTS + JUPITERIAN: Aphotic Remnants Eurotour 2017
Posted: March 16, 2017 in Available, English, News, Uncategorized
Roadmaster Booking is stoked to announce the first European tour of the Finnish Death/Doom entity KRYPTS. The 'Aphotic Remnants Eurotour 2017' is scheduled for September, and will also count with the Brazilian occultists of JUPITERIAN.
About the meaning of the tour for the band, KRYPTS says:
"This tour is a great opportunity for us to perform at places we never played before, to new people and so strengthen our presence in Europe. We've been asked to do a tour on many occasions, but until now, we haven't had the schedule to do so. We've been looking forward for this for a long time though!"
About the setlist and what the European metalheads can expect, the band adds:
"A well considered mixture of old and more fresh material. The setlist will consist of songs from our first demo to the latest album, unheard new material and maybe even some specialities. The idea is to prepare wide range of songs, so we can build each night's set according to the venue's ambience and the current mood. For each night, we promise to play unrelenting Death Doom from the heart."
+KRYPTS (Finland/Dark Descent Records) After many requests, the Finnish Death Doom band Krypts has decided to embark for their first tour. Having performed dozens of exclusive performances in festivals and clubs around Europe, like in Kill-Town Death Fest 2010 and 2014, the band is known for their tight and unforgiving concerts. To make up the long wait, the band will perform material throughout their discography and for eight days the concert halls will rumble under dark, hypnotic atmosphere.
Listen: https://krypts.bandcamp.com/
See: https://youtu.be/BCTMts94qrQ
Follow: https://www.facebook.com/Kryptsdeath
+JUPITERIAN (Brazil/Transcending Obscurity Records) After making the the Cvlt Nation's Top 8 Doom releases of 2015 and a strong appearance at Dutch Doom Days Festival 2016, the Brazilian obscure doom metal titans returns to Europe promising an experience in darkness with dissonant tunes leading the audience to a complete hypnosis.
Listen: https://jupiterian.bandcamp.com
See: https://www.youtube.com/watch?v=AkvGExz2LFY
Follow: https://www.facebook.com/jupiteriandoom
Dates available between 16th and 23rd September 2017.
Booking: duracell@roadmasterbooking.com
http://www.roadmasterbooking.com
REPAY + PHENOMY Eastern Eurotour 2017
Posted: March 15, 2017 in Available, News, Uncategorized
Roadmaster Booking is proud to announce the first Eastern European tour of REPAY and PHENOMY. The tour has available dates between 2 and 17 June. Interested promoters feel free to get in touch through contact@roadmasterbooking.com
REPAY (Sweden/Metal) with over 70 concerts in Sweden, Germany and Czech Republic, appearances at the festival Metaltown and strange gigs at prisons, 2 studio albums and 2 compilation albums, this Swedish hungry band of Death will finally conquer eastern Europe with their dark universal songs!
Music – http://repay.bandcamp.com
Facebook: http://www.facebook.com/repayofficial
PHENOMY (Lebanon/Thrash Metal) – Adding melodies to their aggresion, Phenomy has built an unique sound. In 2016 they released the debut album 'Once and for all', and now they promise to conquer Eastern Europe also presenting exclusive tracks of their upcoming release.
Music: https://youtu.be/cWE49ZRwWQs
Facebook: http://www.facebook.com/Phen0my
LICH KING Eurotour April/May 2017!
Posted: December 1, 2016 in News, Uncategorized
After a very well succeeded tour in 2015, Roadmaster Booking is thrilled to announce the return of Lich King to European stages. The American thrashers promises to come back with a new album, to be released in the beginning of next year. The tour will last 38 days, and will be divided in 3 legs, each one supported by Warfect, Past the Fall and Hidden Intent, respectively.
The guitarist Nick Timney says:
"Like all of our tours, it means we'll be on the road, making nightly deliveries of violence in the form of relentless thrash metal. It also means that we get to revisit all of the crazy crowds and full venues across Europe that received us on our 2015 tour. Daniel from Roadmaster Booking, who arranged our previous EU tour, set us up for the best time possible and we can't wait to come back. Also it means that we're gonna drink all of your beer. And whiskey. And probably eat everything we can get our hands on."
Regarding the setlist, Nick continues:
"Last year, as our first tour in Europe, we put together a setlist with a wide variety of songs from all four albums. It was an attempt at saying, 'Hey guys, sorry it took 8 years to get here. This is what you missed'. This time around, we're going to have a new album for you and therefore a lot of new material will make its way into the setlist. Of course, a lot of the classics and heavy hitters will still be there. We cannot wait to see all of our European friends again. And attempt to make them kill each other. In the pit, we go to war."
Tourdates:
19/Apr Kiel (GER) Alte Meierei
20/Apr Rostock (GER) JAZ
21/Apr Hamburg (GER) Bambi Galore
22/Apr Osnabrück (GER) Bastard Club
24/Apr Hasselt (BEL) Café De Witte Non
25/Apr Deinze (BEL) Elpee
26/Apr Paris (FRA) Le Klub
28/Apr Toulouse (FRA) Les Pavillons Sauvages
29/Apr Guadalajara (SPA) Sala Fever
30/Apr Barroselas (POR) Barroselas Fest
02/May Malaga (SPA) Velvet Club
03/May Granada (SPA) Sala Prince
04/May Oviedo (SPA) Discoteca Sir Laurens
05/May San Sebastian (SPA) Sala Mocambo
06/May Reus (SPA) Sala Toman
07/May Bordeaux (FRA) The Void
09/May St. Etienne (FRA) Thunderbird Lodge
12/May Milan (ITA) Blue Rose Saloon
13/May Koper (SLO) CMK
14/May Ostrava (CZ) Barrak
15/May Bratislava (SVK) Fuga
16/May Vienna (AUS) Viper Room
17/May Brno (CZ) Club Na Dráze
18/May Prague (CZ) Žižkostel
19/May Essen (GER) Don't Panic
20/May Dresden (GER) Club Novitatis
21/May Gdánsk (POL) Protokultura
23/May Berlin (GER) Tommyhaus
24/May Siegen (GER) Vortex Surfer
25/May Amsterdam (HOL) Winston Kingdom
26/May Tilburg (HOL) Little Devil
27/May Lübeck (GER) Treibsand
https://www.facebook.com/LichKingMetal
https://www.facebook.com/Warfect
https://www.facebook.com/PastTheFall
https://www.facebook.com/hiddenintent
RUDE + MORFIN – California Death Over Europe Tour 2017
Posted: November 21, 2016 in Available, News, Uncategorized
Roadmaster Booking is proud to announce that during May 2017, two of the most talented Old School Death Metal bands of the last Californian generation will team up to tour over Europe. Both bands released through German FDA Records their acclaimed Debut Albums, and now will be promoting their 2nd full-lenghts.
Yusef, singer and guitarrist of RUDE says:
"This tour is going to be killer! It' means a lot finally meet all the people in Europe I sent demos to! The set list will contain a mix from both albums. I know people who will want to hear the songs they first heard on the demo, but also the stuff off then new album. I won't let people down! Let's party! Can't wait to see everyone!!!"
Chucho, singer and guitarrist of MORFIN adds:
"This tour is going to be very special for us, because it is our dream to come out and tour for the European fans and fucking rage with them AGAIN!! It's an amazing experience!! This long set will be very promising! We are having a mixture of the 1st and 2nd Album. But majority of the set will be the 2nd album. This setlist ad our performance is going to leave the European fans wanting more!!! Whathever stage we hit, we promise that we will give a killer performance and rage with the fans after!!! This is something the European metal heads will not want to miss!!!"
There's available dates between 5th – 20th May. Interested promoters can contact the agency through contact@roadmasterbooking.com
RUDE (USA/California – Old School Death Metal) – First time in Europe! The band will be releasing their second album 'Remnants' and promote also their old tunes. In the vein of Pestilence, Morbid Angel or Nocturnus. no drum-trigger, no bomblast, no bullshit – just Death Metal to the bone.
Facebook: https://www.facebook.com/Rude-391039200987363/?fref=ts
Music: https://youtu.be/aeB0_E6r2YY
MORFIN (USA/California – Old School Death Metal) – Previously toured 10 countries in Europe with Skeletal Remains in 2015. Witness the return of American Old School Death Metal. With the second album being released early 2017 and a new line-up, Morfin promises a fast, heavy, bone-crushing experience of the 1st and 2nd Album for the European fans!
Facebook: http://www.facebook.com/morfindeathmetal
Music: https://youtu.be/1Q8mbsEBn4g


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Police: Driver's ed instructor arrested for DUI at Joliet Central
By BRIAN STANLEY - bstanley@shawmedia.com
Lathan Goumas - lgoumas@shawmedia.com
Joliet Township Central High School on Wednesday, Dec. 16, 2015, in Joliet, Ill.
Nester Nowak
JOLIET – A high school driver's education instructor was arrested last week after recently being found passed out drunk in the driver's ed car in front of Joliet Central High School, police said.
Deputy Chief Al Roechner said school staff found Nestor M. Nowak, 46, of Shorewood, "slumped over the wheel" of the white Ford around 11 a.m. on April 6 outside the main entrance's parking lot.
"The faculty member who found him was concerned he'd had a stroke or other medical issue, but did detect the strong odor of alcohol," Roechner said.
School staff called for an ambulance and Nowak was taken to Presence Saint Joseph Medical Center. According to police reports, Nowak had more than three times the legal limit of alcohol in his system.
Roechner said staff notified the school liaison officer about the incident on April 13. In a message to parents, Joliet District 204 Superintendent Cheryl McCarthy said that Nowak was placed on leave on April 6 and "has not been in a District 204 vehicle, nor at work, since that date," saying his continued employment with the district is under review.
"We reviewed the case with the state's attorney's office and a warrant was issued on May 9," Roechner said.
Nowak was charged with two counts of driving under the influence and released after posting $10,000 bond.
McCarthy's statement said that, when it attempted to contact Nowak for an interview on the matter "we were advised that he was in a treatment program and would not be released for some time. We were unable to interview Mr. Nowak, but continued to gather evidence that was provided on April 13 to the Joliet Police Department."
According to Will County court records, the driver's education instructor pleaded guilty to driving under the influence of alcohol following an arrest in New Lenox in 2014 and was sentenced to a year of court supervision. Court records show 12 other traffic and parking violations for Nowak dating back to 1990.
"The District was not aware of that fact until today and we are investigating further to determine why we were not made aware of that incident," McCarthy's statement said.
"At this time, we have no evidence to indicate that Mr. Nowak was ever under the influence while he was teaching behind-the-wheel to District 204 students," McCarthy wrote. "However, we encourage any persons to come forward who may have information to the contrary. Our investigation continues and when we have additional information we are able to share, we will do so."
Attorney recognized as Three Years 10 Best DUI Attorney for Client Satisfaction
Romeoville decreases property tax rate, passes balanced budget
Drunk driving fatalities down in 20 years since Illinois DUI law
Joliet driver charged after passenger feared for her baby's life

redpajama_set_name: RedPajamaCommonCrawl


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John Corriveau 1 November 1997
Circular Letter of the Minister General
John Corriveau OFMCap
On Compassion
Circular Letter n. 12
Dear brothers and sisters,
"Let us look on the One whom we have pierced …
and be filled with a spirit of compassion"
(see Jn 19:37 and Zech 12:10)
1.1 "If you close your ear to the cry of the poor, you will cry out and not be heard" (Prov 21:13). Our brother, Saint Francis, is unmistakably one who heard "the cry of the poor". That same cry has been heard by countless Capuchin brothers ever since Br. Matteo di Bascio answered a call which led to the formation of the Capuchin fraternity. The Fifth Plenary Council described hearing the cry of the poor and responding with actions which lead to justice and the transformation of the world as "an integral part of our Franciscan vocation," a defining characteristic of our Franciscan spirituality and of the brotherhood of evangelical witness which our Order must live in this world (V PCO 86).
A Vision Rooted in Prayer and Contemplation
Francis' experience of God
2.1.1 The life, vision, and activity of Francis were formed by his personal experience of God. The total giving of self to God in faith at the beginning of his life led to the complete surrender of self to love of God and neighbour at the end of his life. "Having laid aside everything which pertains to this world, we see a Francis completely taken up with divine righteousness" (1 Cel 15). Integral to Francis' experience of God was his experience of the Crucified One. At San Damiano, Francis approached the image of the Crucified as had Moses the burning bush: "He fell down in devout and humble supplication" (2 Cel 10). In silent adoration Francis discovered the true dimensions of his life: "Touched by grace, Francis found himself other than he had been when he entered." Celano goes on to stress: "From then on compassion for the Crucified was rooted in his very soul" (2 Cel 10).
2.1.2 The Franciscan sources are filled with expressions such as: "Led by the Spirit" (2 Cel 10), "The Lord granted," "The Lord gave me," "The Lord revealed to me" (see Testament). Francis was identified with Jesus, not so much because he imitated the life and actions of Jesus "on the outside," but because he was filled with the same Spirit which, the gospels tell us, filled Jesus: "And the Spirit immediately drove him out into the wilderness" (Mk 1:12). "Then Jesus, filled with the power of the Spirit, returned to Galilee" (Lk 4:14). Like Jesus, Francis, too, was a person led and even "driven" by the Spirit.
A world seen through the eyes of God
2.2.1 Francis' personal experience of God changed his perception of the world. Jesus, pierced and hanging on the cross, became for him the lens which gave him insight into a new way of relating to the world. Jesus crucified was now the focus, the center of all creation, including the human family.
2.2.2 A poor person was no longer simply a fellow human being in need, but a sacrament of Christ's presence. "Let us see the One whom we have pierced …" Francis was overwhelmed by the largess of God who conferred on human beings the dignity of being sisters and brothers of Christ, God's own adopted children. For this reason Francis exhorted the friars never to look down on people (Later Rule II, 17). Manselli points out that to be authentic, every friar had to cultivate a "total commitment to human brotherhood in Christ." This was the new and revolutionary value contained in Francis' gospel vision and message. Francis, relying directly on his personal experience of Jesus, gave a privileged place in this embrace of brotherhood to the poor and marginalized. In the gospels, the poor and the marginalized are the privileged companions of the person of Jesus, the first recipients of the good news (see Lk 4:12-18).
2.2.3 "Brotherhood" was an eye‐opening experience for Francis, transforming his vision of the world. Because fraternity embraced all creation, Francis was caught up in what might be called the "cosmic fraternity." Celano described how Francis, gazing in wonder upon the humblest realities – light, water, fire, wind, earth, trees, animals, flowers – was able to discern the hidden realities of nature. Not content with praising God for creatures, Francis fraternized with them, speaking to God's creatures "with great inner and exterior joy, as if they had been endowed by God with feeling, intelligence and speech" (Legend of Perugia 49). All creatures form a single family before the face of God. This was a fresh and new intuition of Francis.
Francis' Mission of Peace
3.1 "God, to whom we were reconciled through Christ … has entrusted us with the ministry of reconciliation" (2 Cor 5:18). Francis' vision Of God and the world impelled him to become an apostle of peace and reconciliation. The service of peace was so fundamental a characteristic of the Order that Celano described the vocation of Bernard as taking up the mission of peace (see 1 Cel 24). Peace was a crusade which Francis believed was revealed to him personally by God: "The Lord revealed a greeting to me …' May the Lord give you peace' " (Testament 23). Francis even used this characteristic greeting when he addressed a great flock of birds gathered in a field near Bevagna (see 1 Cel 58). After reminding the brothers: "You talk about peace, all the more so must you have it in your heart," he insisted: "We have been called to heal wounds, to unite what has fallen apart, and to bring home those who have lost the way" (Legend of the Three Companions 58).
Our Mission of Peace
4.1 The Fifth Plenary Council spelled out this mission today:
"Francis passed on to us a special charism for peace, justice and respect for nature. The point of view of the poor is the privileged position from which we, his sons, consider and proclaim these values. Reconciliation and respect for creation are the means Francis gives us in order to reach true peace and harmony. This forms an integral part of our Franciscan vocation" (V PCO 86)
4.2 This "mission of peace," by its very nature, includes justice. In fact, peace without justice cannot be authentic peace. The social doctrine of the church has been articulated in hundreds of ecclesiastical documents leaving no doubt that a conscious awareness of the demands of justice in our world, as well as a conscientious response, is an essential test of Christian faith and spirituality. Our Franciscan heritage roots our work for justice in images an in the language of peace and reconciliation, and this greatly influences and determines our characteristic contribution. What are the special characteristics of our "mission of peace"?
A. Adopting the Viewpoint of the Poor
4.3.1 "The Lord himself led me among them [i.e., lepers] and [felt deep compassion for them" (Testament 2). Compassion has been described as a spiritual consciousness of the personal tragedy of another and a selfless tenderness directed toward it. For Francis, there was no distinction between the "selfless tenderness" he experienced before the cross of San Damiano and the "selfless tenderness" he experienced in the embrace of the leper. It is noteworthy, in fact, that in his Testament he mentions only the latter! St. Thomas Aquinas observed that greed "makes a person incapable of compassion" (IIa, IIae, Q.118, Art.8). Greed kills our capacity to feel compassion! The person who is filled with greed is unmoved by the misery of another. By becoming poor, Francis emptied himself so that his heart could be free for and full of compassion. The Fifth Plenary Council directed that the point of view of the poor be "the privileged position" from which we proclaim the values of justice, peace and respect for nature. Such a view point is nourished in a brotherhood inspired by poverty and filled with compassion for the crucified, "the One whom we have pierced."
4.3.2 This "selfless tenderness" has led friars into innumerable works among the poor. Each of these works was founded on an experience of genuine compassion: a brother or group of brothers became aware of some "personal tragedy" experienced by another or others, and began serving those needs with their own hands. As ministries become institutionalized, there is always a tendency for the brothers to be taken up with the administrative aspects of the work, and direct service to the poor often becomes the duty of paid employees. In the ongoing renewal of these precious ministries, provinces must recapture the attitude of Francis who at the end of his life "hoped always to start over again, wishing to go back to serving lepers" (1 Cel 103). Perhaps it could be a part of the pastoral plan of each province that there be at least one provincial ministry in which the brothers serve the poor with their own hands. Since Francis' identification with the poor grew out of his personal experience of lepers, this foundational experience of Franciscan spirituality has led a growing number of provinces to include direct service to the poor in the corpora]works of mercy as an integral part of the post novitiate formation experience (see Circular Letter 9, 3.7).
4.3.3 Particularly in Latin America, but in other areas as well, the Fifth Plenary Council gave birth to a considerable number of "insertion experiences" among the poor: "… that we might hear their authentic voice, it is the duty of the Order to have fraternities among the poor" (V PCO 92). The inspiration for these initiatives was a compassion which aimed at sharing the life, experience, and aspirations of the poor. The object of the insertion was
to duplicate in every way possible the life conditions of the people. From a distance of ten or more years, these "insertion experiences" are now being evaluated in light of other essential values of our Capuchin charism, in particular, fraternity and prayer. The resulting synthesis of values can only enhance the obvious evangelical power of this witness.
4.3.4 In a letter addressed to our Order on 18 September 1996, Pope John Paul II requested that we establish a fraternal life which can be "a warmly human and accessible point of reference for the poor." In many of the older European friaries, traditionally there was a dining room for the poor near the main entrance. There travelers and the poor found a warmly human and dignified welcome. The words of the Pope and the tradition of our Order Challenge us as brothers gathered in local chapter to consider the quality of welcome which the poor find at the door of our friary.
4.3.5 The Fifth Plenary Council had the clear insight that "the viewpoint of the poor" must be the point of reference for the Capuchin vision of peace, justice and respect for nature. Perhaps that is the reason why Br. Jacques Bélanger, former general definitor and first president of the International Commission for JPE, often suggested that each province or region of the Order have both a house of prayer, as indicated in our Constitutions, and a fraternity of insertion among the poor, as indicated by the Fifth Plenary Council. Our identification with the poor as a brotherhood is nourished by our ministries of direct service, our insertion experiences as fraternities and as individuals, and the quality of hospitality in our friaries. Such experiences shape fraternities filled with that genuine compassion which Francis discovered in gazing upon the cross of San Damiano and embracing the leper. Such immediate experiences also determine and form the perspective from which our Order can
judge and respond to the structural causes of poverty and human suffering in our world. Rooted in the experience of compassion, we can as individuals and fraternities, bring our spiritual and intellectual resources to the cause of the poor and oppressed. With the help of the social sciences we can assist the poor and all people of good will to see that human inequalities are not the result of the will of God but of human evil which must yield to change and conversion. I recall the words attributed to Dom Helder Camara: "When I feed the poor they call me a Christian; when I ask why they are poor they call me a Communist." I believe that we should not be afraid to ask those questions and urge others to ask them also. The new name for poverty is often "social exclusion." In the name of the gospel, we should not fear to ask why it is that in otherwise affluent societies, some are excluded from the benefits of that society's wealth in its many forms (e.g., food, housing, education, health, etc.).
B. A Simple Lifestyle
4.4 There is a remarkable statement of Francis which takes on new meaning for us in today's interconnected world:
"I was never a thief: by that I mean that, in accepting alms, the inheritance of the poor, I have always made it a point to accept less than I needed so that I would not defraud the other poor. To act otherwise would be to steal" (Legend of Perugia 111).
It is a well-documented fact that the wasteful habits of rich consumer societies squander resources necessary to provide even basic necessities to the poor of our world. The disastrous impact of wasteful consumer habits on the ecosystem of our planet is equally well-documented. These facts give added purpose and impetus to our efforts to simplify our lifestyle. Austerity of life, so well described in Chapters Four and Seven of our Constitutions, creates a life style which does not offend the poor or exploit unnecessarily the resources of the world.
C. Rejection of Violence
4.5 "They are truly peacemakers who are able to preserve their peace of mind and heart for the love of our Lord Jesus Christ, despite all they suffer in this world" (Admonitions 15). Francis challenges us to discover in our inner selves the deepest roots of peace as well as our own tendencies toward aggression. This is particularly important for those who work to change the structural causes of poverty in our world. Unless we unmask our personal sources of anger, the work for justice itself can become an excuse to vent personal frustrations. The Fifth Plenary Council stated: "An integral part of Francis' conversion was his renunciation of violence" (V PCO 96). Our presence and participation in movements seeking justice must be a ferment for reconciliation and nonviolence. Modern spiritual leaders such as Gandhi and Martin Luther King, Jr. were convinced that those who use force to resist force are ultimately contaminated by the very evil against which they struggle. Nonviolence, however, is not passivity. Gandhi identified nonviolence with the search for truth: "The way of peace is the way of truth … truthfulness is even more important than peacefulness." Our commitment to nonviolence also includes the renunciation of the diet of violence which is so much a part of modern entertainment (see Circular Letter 4, 4.2). Furthermore, the letters and pronouncements of Pope John Paul II increasingly call us to renounce all forms of institutional violence, such as capital punishment and ever more repressive forms of incarceration.
D. The Ministry of Reconciliation
4.6.1 "God, to whom we were reconciled through Christ … has entrusted us with the ministry of reconciliation" (2 Cor 5:18) When we read about the life and ministry of Francis and the early friars in the Legend of Perugia and in the Fioretti, we encounter agents of reconciliation. One noteworthy characteristic is the wide diversity of instruments used to bring about reconciliation:
to restore peace to Borgo San Sepolcro and reconcile the thieves, the brothers prepared a meal with plenty of bread and good win(Fioretti XXVI); to liberate Arezzo from the demons of hatred and war, Francis sent the sainted preacher, Sylvester (Legend of Perugia 81); and the singing of a newly-inspired verse of the Canticle reconciled the bishop and the mayor of Assisi (Legend of Perugia 44).
4.6.2 Reading these beautiful legends, I have often wondered how Francis came to choose his "instruments" of reconciliation: bread and wine for San Sepolcro, Sylvester for Arezzo, a song for Assisi. "Where sin increased, grace abounded all the more" (Rom 5:20). Francis had the gospel intuition to look for signs and instruments of redemption in the very places where the absence was most evident! Injustice in our world is rarely eliminated by single grand gestures.
Cardinal Arns remarked that "the important events of history are the thousands of humble actions that heal and reconcile." However dramatic his trip to see the Sultan, Francis' most creative efforts to change the world were to be found in "the humble actions that heal and reconcile" which he performed right in Umbria and in the Rieti Valley. "Wisdom … is found by those who seek her … she will be found sitting at the gate" (Wis 6:12-14).
The Holy Spirit is at work changing our world. It should be the special gift of Franciscans, particularly those passionate about structural change in our world, to discover the new and dynamic instruments of justice and reconciliation which continually spring up in our world. This requires a contemplative vision of faith. Like Francis, we begin by discovering the forces of hope which exist at our very gate!
Animating the Mission of Peace
5.1 Having identified the mission of peace, justice and respect for nature as "an integral part of our Franciscan vocation," the Fifth Plenary Council rightly called for a concrete program for its promotion and animation (V PCO 97). The general curia, as well as many provinces of our Order, responded by creating secretariats and commissions to fulfill this important role. Many brothers have grown tired of this effort. They see little effect from the thousands of actions – both large-scale and small – undertaken by the brothers to promote peace, justice and respect for nature. However, we must remember that the primary change we seek is in our own hearts and within our own fraternities. Our fraternities are called to be "warmly human and accessible points of reference" for those who thirst for justice and true brotherhood within our world. Where commissions and secretariats exist, allow theft to guide our reflection and coordinate our efforts. May those provinces which lack commissions be inspired to establish them in order that this essential dimension of our spirituality can become a more visibly lived reality.
5.2 A 14th century spiritual treatise stated: "The created human soul has two eyes. One (the right) represents the power to gaze into the eternal. The other (the left) gazes into time and the created world." It is evident from the early sources that Francis was able to see with both eyes of the soul. Francis gazed upon the world with the eyes of God. Like Francis, we must learn to gaze upon the world with "both eyes of the soul." Justice is not an abstraction or a lifeless concept. Gazing upon the person of Christ, poor and crucified, might be described as the vision of the "right eye of the soul." With the "left eye of the soul" we must also gaze upon the world Jesus came to save.
This vision will be formed in us when we read the documents of the church and reflect upon the realities of our world in the light of their gospel message. Our vision of the sufferings of humanity and the degradation of the ecosystem in the light of the cross can fill us, like Francis, with compassion. It is that compassion which will help prevent our pursuit of justice from degenerating into a harsh individualism or an equally grim collectivism. At the same time, a constant reflection on the social doctrine of the church will help to ensure that our spirituality does not become an escape from the harsh realities of our world. Only this two-fold vision can preserve the perspective we have received from Francis.
Perhaps the local fraternity might reflect on the following two questions:
What moves us to feel compassion as we look at the neighbourhood in which we live?
What specific action could we take, what specific gesture could we make, to express that compassion?
6.1 By the time this letter arrives, in many of our fraternities Advent will have already begun. May the preaching of Isaiah, the great prophet of justice, open the eyes of our souls to the divine will for all God's people:
"They shall beat their swords into plowshares, and their spears into pruning hooks; nation shall not lift up sword against nation, neither shall they learn war any more" (Is 2:4).
When the time of prayer and preparation yields to the time of celebration at Christmas, may we draw inspiration from Mary and Joseph, whose experience of the "viewpoint of the poor" was very personal and concrete. Marginalized and unwanted, they were the ones to whom God revealed the life of blessedness and peace. May we learn from them to make room in our lives for the poor.
Br. John Corriveau,
OFM Cap. General Minister
Rome, 1 November 1997, Feast of All Saints


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Il teatro elisabettiano è stato uno dei periodi artistici di maggiore splendore del teatro britannico. Esso viene collocato tradizionalmente fra il 1558 e il 1625, durante i regni dei sovrani britannici Elisabetta I d'Inghilterra e Giacomo I d'Inghilterra. Il termine, nella sua accezione di teatro rinascimentale inglese, si estende ai fenomeni teatrali fioriti nel periodo che va dalla riforma anglicana alla chiusura dei teatri nel 1642 al sopraggiungere della Guerra Civile, comprendendo quindi anche buona parte del regno di Carlo I.

La produzione del periodo successivo al 1603, anno della morte della regina, è talvolta definita in modo distinto come il teatro dell'età giacobita (jacobean) e presenta caratteri differenti dal precedente, di cui è l'evoluzione.

Il teatro di tutto il periodo viene tradizionalmente associato a due grandi figure: la regina Elisabetta (1533-1603), da cui trae il nome, e il drammaturgo William Shakespeare (1564-1616), massimo esponente di questo periodo e uno dei maggiori autori teatrali in assoluto.

Assieme agli aspetti economici della professione teatrale, il carattere del dramma mutò verso la fine del periodo: sotto Elisabetta il dramma era un'espressione unitaria al di là dalla classe sociale coinvolta: la corte assisteva alle stesse rappresentazioni che la gente comune vedeva nei teatri pubblici, mentre con lo sviluppo dei teatri privati il dramma divenne più orientato verso i gusti e valori di un pubblico di alto ceto. Con l'ultima parte del regno di Carlo V venivano scritti pochi nuovi drammi per il teatro pubblico, che si sosteneva sulle opere accumulate dei decenni precedenti.

Contesto storico

Il periodo elisabettiano coincide cronologicamente solo in parte col rinascimento europeo e meno ancora con quello italiano, recando in sé forti accenti di manierismo e di barocco in quanto più tardivo.

Questo periodo storico fu idealizzato dalla storiografia vittoriana e del primo Novecento come una sorta di "età dell'oro". Gli studi storici più recenti tendono a ridimensionare questa visione idilliaca, sottolineando la povertà della stragrande maggioranza della popolazione, il sostegno allo schiavismo e le grandi tensioni interne al paese che sfoceranno, quarant'anni dopo la morte di Elisabetta, nella guerra civile inglese.
È tuttavia opinione generale degli storici che l'età elisabettiana consentì all'isola un periodo di relativa pace, un governo che utilizzò con parsimonia la tortura, una riduzione consistente delle persecuzioni religiose e un grado di libertà e prosperità di gran lunga superiore alle monarchie precedenti e immediatamente successive.

L'età elisabettiana segnò l'ingresso dell'Inghilterra nell'età moderna sotto la spinta delle innovazioni scientifico-tecnologiche come la rivoluzione copernicana e delle grandi esplorazioni geografiche (è l'inizio della colonizzazione inglese dell'America settentrionale). La tempesta di William Shakespeare, secondo una vecchia teoria, sarebbe ambientata in un'isola dei Caraibi, la cui popolazione (rappresentata simbolicamente dal "selvaggio" Caliban) è stata sottomessa dalle arti magiche di Prospero, cioè dalla tecnologia e dal progresso dei colonizzatori europei. Molto più ragionevolmente, le isole dei Caraibi fornirono da spunto per delineare alcune caratteristiche all'isola della stessa opera, nella fase di rifinitura della commedia.

L'ascesa al trono di Elisabetta I, dopo il tragico quinquennio di regno di Maria la cattolica, si caratterizzò per un consolidamento del protestantesimo e uno sviluppo deciso dei commerci e delle conquiste territoriali del regno. Il distacco dall'orbita del papato e del Sacro Romano Impero, con la sconfitta di Filippo II di Spagna e della sua Invencible Armada (1588), il maggior benessere economico dovuto all'espansione dei commerci oltre Atlantico, suggellarono il trionfo di Elisabetta e la nascita dell'Inghilterra moderna.

Una nuova classe mercantile acquistava potere e con i commerci aumentarono anche gli scambi culturali con l'estero. Si accrebbe l'interesse verso le humanae litterae e quindi verso l'Italia, dove gli intellettuali fuggiti da Costantinopoli (1453) avevano portato con sé gli antichi manoscritti dei grandi classici greci e latini facendo esplodere un interesse senza precedenti per l'antichità greco-romana e lo studio della lingua ebraica.

Nasceva allora in Italia l'umanesimo (a vocazione soprattutto filologica e archeologica), destinato a maturare nel XVI secolo nel rinascimento, con la creazione di un'arte e un'architettura moderna e un rinnovamento tecnologico su larga scala (si pensi soltanto a Leonardo da Vinci). Se in Italia il rinascimento si esaurì verso la metà del XVI secolo, nell'Europa settentrionale (dove arriva più tardi) esso perdurò fino ai primi decenni del XVII secolo.

Un fattore sociale che segnò la nuova realtà inglese, oltre alla crescente intraprendenza dei commercianti, fu l'aumento della popolazione.
Le differenze economiche tra i ceti ricchi e i meno abbienti durante la dinastia Tudor si approfondirono. La crescita demografica e l'emigrazione dalle campagne investirono Londra, che quadruplicò la sua popolazione in meno di un secolo. Nel 1600 la capitale contava circa 200.000 abitanti. Lo sviluppo del teatro inglese di quest'epoca ha il suo centro proprio a Londra, diffondendosi poi nella provincia.

Origini

Nel periodo immediatamente precedente all'era del teatro elisabettiano, erano molto diffuse le rappresentazioni sacre, i Corpus Christie plays e i Miracle plays, interrotti solo dal re scismatico Enrico VIII (1548), e definitivamente messi al bando sotto Elisabetta. Vennero rappresentati in oltre centoventicinque città britanniche e per alcune loro caratteristiche, come il passaggio improvviso dal serio al comico e viceversa, la narrazione per episodi priva della classica strutturazione dei cinque atti tradizionali, anticiparono il teatro elisabettiano. Quest'ultimo fu maggiormente influenzato, invece dalle Moralities, testi allegorici con fini educativi che seppur legati alla sfera sacra, introdussero il gusto della visualizzazione di concetti astratti, ottenuta grazie a figure simboliche, ovverosia personaggi che rappresentano idee o atteggiamenti.

Inoltre un altro filone teatrale, questa volta laico, precedette quello elisabettiano: gli Interludes ("interludi"), che ebbero l'apice del loro successo dalla metà del Quattrocento fino alla seconda metà del Cinquecento, il cui protagonista era solitamente il monarca, l'ambientazione era Londra, la trama insisteva sull'enfatizzazione della felicità terrena. Fondamentale fu la nascita dei cosiddetti minidrammi, influenzati dalle opere latine e classiche che inventeranno il metro del teatro in versi che caratterizzerà la produzione successiva.

Le compagnie di attori sotto la protezione dei casati nobiliari, che eseguivano periodicamente rappresentazioni nelle corti e in altri luoghi, esistevano anche prima del regno di Elisabetta, e prepararono la strada agli attori professionisti del teatro elisabettiano.
I sovrani Tudor si circondarono spesso di artisti, giullari, musicisti e attori. Enrico VII manteneva a corte una piccola compagnia di attori, i King's Players (Lusores Regis), allo scopo di intrattenere e divertire gli ospiti. I nobili più potenti, come il duca di Northumberland o quello di Buckingham, non erano da meno nell'affermare il proprio prestigio arruolando attori e menestrelli, impegnandoli in sfarzose celebrazioni, in occasione delle festività natalizie o per inaugurare un nuovo palazzo. Gli attori, pedine nei giochi politici, legavano il proprio successo a quello del protettore, di cui portavano la livrea. Spesso venivano 'prestati' ad altre corti, allo scopo di accrescere il prestigio del proprio mecenate, e compivano viaggi nei quali a volte erano impiegati anche come informatori. Le lotte di potere e le rivalità tra la monarchia e le casate più potenti diventarono argomento degli stessi drammi rappresentati, in una finzione che rifletteva e si confondeva con la realtà.

Le tournée di queste compagnie di attori in livrea soppiantarono gradualmente le altre forme di rappresentazione sacre e profane. Un articolo della Poor Law (legge sui poveri) del 1572 eliminò le rimanenti compagnie che operavano senza una formale protezione, equiparandole al vagabondaggio.
Le autorità di Londra furono generalmente ostili alle pubbliche rappresentazioni. Nonostante le protezioni reali e nobiliari, i teatri pubblici della città furono edificati nelle liberties fuori dalla giurisdizione comunale, quali il quartiere di Southwark, e per mettersi al riparo dai divieti le compagnie dovettero ricorrere frequentemente allo stratagemma di presentare le rappresentazioni come semplici prove di spettacoli destinati alla corte reale.

A Londra, città in forte espansione nella quale fiorivano le attività economiche, l'edificazione e la gestione di un teatro assunse il carattere allora inedito di impresa commerciale autonoma, facendo emergere la figura dell'impresario. Lo scrittore, poeta e drammaturgo Thomas Dekker giunse ad equiparare i teatri alla Borsa Reale di Londra costruita nel 1565 da Thomas Gresham, affermando come le Muse si fossero «trasformate in mercanti, scambiandosi la merce leggera delle parole»

Interesse per l'Italia
Questa voglia di rinnovamento e di modernità si diffuse anche a Londra. Neanche i sinistri resoconti di presunti viaggi nel paese di Niccolò Machiavelli, come il Viaggiatore sfortunato di Thomas Nashe, parvero diminuire l'entusiasmo del grande pubblico: l'amoralità de Il Principe e le voci delle congiure papali contribuirono invece a tenere vivo l'interesse per l'Italia. Proprio nella capitale vi era una cospicua comunità di immigrati italiani (molti dei quali drammaturghi e attori): con essi Shakespeare, Christopher Marlowe, il secondo più grande drammaturgo, e i contemporanei dovettero probabilmente intrattenere rapporti di amicizia e di frequente collaborazione professionale.

Il successo di Seneca
Nell'età di Shakespeare erano in pochi a leggere i drammi in latino e meno ancora in greco, lingua che solo allora si cominciava a conoscere. Le opere di Seneca, già oggetto di grande interesse per gli umanisti italiani si diffusero perciò soprattutto attraverso adattamenti italiani che si discostano non poco dallo spirito dell'originale. Furono inserite nella rappresentazione quelle scene di violenza e crudeltà che dall'autore erano invece affidate al racconto di testimoni. Ma fu proprio la versione italianizzata, dove il male è presentato nella sua interezza, a piacere ai drammaturghi elisabettiani e a incontrare l'interesse del pubblico.

La tragicommedia e il romanzesco

Un dramma molto legato all'effetto di scena e che fa presa sulle emozioni più violente associa talora a sé le passioni d'amore più morbose: il quadro antico dipinto con mano tanto leggera è restaurato con tinte tanto forti da cancellare quasi il tocco del suo artista. Non fu forse un caso che gli stessi drammaturghi rinascimentali lavorassero contemporaneamente ad opere di tipo "misto", come le pastorali o le tragicommedie, fusioni di commedia e tragedia, insieme di tragico, di comico e di romanzesco.

La contaminazione dei generi in voga nel rinascimento fu accolta anche dagli elisabettiani, le cui tragedie e commedie mantengono però un maggiore distacco ironico e realistico. La tempesta ha molto della tragicommedia, ma l'ironia e la comicità dei personaggi, la profondità dell'esplorazione filosofica le conferiscono più respiro. Lo stesso può dirsi di molte altre grandi commedie scespiriane ed elisabettiane, in cui il comico si mescola fatalmente al tragico, come d'altra parte avviene nel cinema moderno. Le battute del buffone di Re Lear e la follia dello stesso re caduto in disgrazia per il tradimento delle figlie a cui tutto aveva affettuosamente donato danno il necessario sollievo comico al pubblico facendo contemporaneamente risaltare, come per l'effetto del chiaroscuro, la tragedia personale di Lear e quella nazionale dell'Inghilterra dilaniata dalla guerra civile.

I teatri

La vita teatrale era ampiamente concentrata a Londra, ma le opere erano rappresentate in tutta Inghilterra da compagnie itineranti. Le compagnie inglesi si esibivano in tournée recitando opere inglesi anche in Paesi vicini come Germania e Danimarca.

Il periodo in esame ha inizio prima della fondazione dei primi teatri permanenti. Vi erano all'inizio due tipi di spazi per la rappresentazione, i cortili degli inn, locande economiche di provincia, e gli Inn of Court, associazioni professionali per penalisti e giudici, come l'Inner Temple. Tali strutture continuarono a venire utilizzate anche dopo l'istituzione di teatri permanenti.
Il primo teatro stabile inglese, il Red Lion, aprì nel 1567 ma ebbe scarso successo e vita breve. I primi teatri di successo, come The Theatre, aprirono nel 1576.

L'istituzione di grandi teatri pubblici redditizi fu un fattore essenziale per successo del dramma inglese rinascimentale: una volta che tali strutture furono entrate in funzione, il dramma sarebbe diventato un fenomeno stabile e permanente e non più transitorio. La loro costruzione fu richiesta quando il sindaco e la Corporation of London vietarono prima le rappresentazioni nel 1572 come misura contro la peste, e quindi espulsero formalmente tutti gli attori dalla città nel 1575. Ciò spinse alla costruzione di teatri stabili al di fuori della giurisdizione di Londra, nelle liberties di Halliwell/Holywell a Shoreditch e più tardi Clink, e a Newington Butts, vicino al quartiere dei divertimenti stabilito a St. George's Fields nel Surrey.

Quando nel Cinquecento sorsero i primi teatri nelle liberties fuori dalla City (sorta di zone franche non completamente assoggettate all'autorità comunale), essi conservarono molto della antica semplicità medievale. Senza l'aiuto di macchine o luci artificiali, gli attori inglesi svilupparono al massimo creatività e fantasia personale prima ancora che fossero scritte le prime grandi opere elisabettiane (Shakespeare si fece le ossa esordendo come attore, e così fecero molti altri).

Ricavato in origine da circhi dell'epoca per le lotte tra orsi o tra cani oppure da "inn", l'edificio teatrale consisteva in una costruzione molto semplice in legno o in pietra, spesso circolare e dotata di un ampio cortile interno chiuso tutt'intorno ma senza tetto. Tale corte diventò la platea del teatro, mentre i loggioni derivavano dalle balconate interne della locanda. Quando la locanda o il circo divennero teatro, poco o nulla mutò dell'antica costruzione: le rappresentazioni si svolgevano nella corte, alla luce del sole. L'attore elisabettiano recitava in mezzo, non davanti alla gente: infatti il palcoscenico si "addentrava" in una platea che lo circondava da tre lati (solo la parte posteriore era riservata agli attori restando a ridosso dell'edificio). Come nel Medioevo, il pubblico non era semplice spettatore, ma partecipe della rappresentazione scenica. L'assenza degli "effetti speciali" raffinava le capacità gestuali, mimiche e verbali dell'attore, che sapeva creare con maestria luoghi e mondi invisibili (le magie di Prospero ne La Tempesta alludono metaforicamente proprio a questa magia "evocativa"). E nello stesso tempo, lo spettatore sopperiva alla carenza della componente visiva con un'altrettanto raffinata fruizione, fatta di straordinaria sensibilità nei confronti della parola recitata e di vivida immaginazione.

Il primo grande anfiteatro aperto al pubblico dell'età elisabettiana fu quello denominato semplicemente The Theatre, "Il teatro", costruito dall'attore e impresario James Burbage e dal cognato John Brayne (proprietario del fallito Red Lion) nel quartiere periferico di Shoreditch nel 1576, su un terreno preso in affitto dal puritano Giles Allen (il quale venti anni più tardi ne pretenderà la restituzione e la demolizione del teatro). Nello stesso anno la regina Elisabetta aveva infatti accordato ai Leicester's men di Burbage una licenza grazie alla quale essi erano esenti dal vigente divieto alle pubbliche rappresentazioni teatrali.

Il prototipo per il nuovo teatro era stato il Red Lion, fatto costruire da Brayne nove anni prima, nel 1567, a Mile End, un villaggio ad est di Londra: nelle sue forme essenziali (uno spazio aperto recintato, con gallerie intorno e il palcoscenico sopraelevato), la sua impostazione strutturale influenzò l'architettura teatrale successiva.

Il teatro di Newington Butts venne fondato, probabilmente da Jerome Savage, tra il 1575 e 1577.
Seguirono il Curtain Theatre (1577), il Rose (1587), lo Swan (1595), il Globe (del 1599, costruito con il legname del Theatre, dopo la rescissione del contratto di affitto del terreno), il Fortune (1600) e il Red Bull (1604).

Questi teatri erano alti tre piani e costruiti anch'essi intorno ad uno spazio aperto al centro. In genere la pianta era poligonale per ottenere un effetto circolare (anche se il Red Bull e il primo Fortune erano a pianta quadrata). I tre livelli di gallerie, rivolti all'interno, circondavano lo spazio aperto centrale. Il palcoscenico era essenzialmente una piattaforma circondata dai tre lati dal pubblico, sollevata dal terreno di un metro e mezzo circa e coperta da un tetto. Sul fondo erano collocate le porte di ingresso e uscita degli attori e le sedie per i musicisti. La parte superiore dietro al palcoscenico poteva essere utilizzata come balcone, come nella famosa scena di Romeo e Giulietta, oppure come un luogo da cui un attore poteva arringare la folla, come in Giulio Cesare. Gli scavi archeologici sulle fondamenta del Rose e del Globe alla fine del XX secolo hanno dimostrato che tutti i teatri di Londra presentavano differenze individuali, ma la loro funzione comune richiedeva un progetto generale simile.

In genere costruiti in legno, i primi teatri erano soggetti agli incendi. Quando nel giugno del 1613 il Globe andò a fuoco, fu ricostruito con un tetto di tegole. Nel dicembre del 1621, quando il fuoco distrusse il Fortune, questo fu interamente ricostruito in mattoni. La capienza degli anfiteatri si aggirava tra i 1500 e i 3000 spettatori.

Un modello differente fu sviluppato con il Blackfriars Theatre, ricavato da un ex convento, che cominciò a essere utilizzato con regolarità nel 1599.
Il Blackfriars era più piccolo, confrontato con i precedenti, ed era interamente coperto. Assomigliava più degli altri ad un moderno teatro. L'illuminazione interna era ottenuta con candele, che venivano sostituite durante uno o più intermezzi del dramma.

Altri piccoli teatri coperti seguirono, quali il Whitefriars (1608) e il Cockpit (1617). Questi teatri, più raccolti, contenevano circa 500 spettatori, in un ambiente raccolto. Venivano detti "privati", benché fossero anch'essi aperti al pubblico: essendo molti di essi situati dentro le mura della città, era questo un ennesimo stratagemma per sfuggire alle rigide disposizioni della legge.
Alla grande O di legno di cui si parla nel prologo dellEnrico V progressivamente si sostituiscono le sale dei palazzi barocchi, relegando gli anfiteatri a sede di spettacoli estivi o, come nel caso dello Hope, ai combattimenti tra cani e orsi.

Con la costruzione del Salisbury Court Theatre nel 1629 vicino al luogo del dismesso Whitefriars, il pubblico londinese aveva sei teatri tra cui scegliere, tre dei quali ampi e a cielo aperto - il Globe, il Fortune e il Red Bull - e tre più piccoli, "privati": il Blackfriars, il Cockpit e il Salisbury Court.

Intorno al 1580, quando sia il Theatre sia il Curtain erano pieni, con il bel tempo la capacità totale dei teatri a Londra era di circa 5.000 spettatori.
Quando furono costruiti i nuovi edifici e si formarono nuove compagnie, il numero di posti disponibili aumentò fino a superare i 10.000 spettatori dopo il 1610.

Mentre il dramma rinascimentale italiano si evolveva verso una forma di arte elitaria, il teatro elisabettiano diventava un grande contenitore che affascinava tutte le classi. Alle rappresentazioni che si svolgevano nei teatri pubblici potevano incontrarsi principi e contadini, uomini, donne e bambini, anche perché il biglietto era alla portata di tutti: i posti in piedi al centro del teatro costavano un penny; gli spettatori più abbienti potevano sedersi nelle gallerie pagando due penny (oppure, con una somma superiore, potevano recarsi nei teatri coperti); la frequentazione del teatro era fortemente radicata nei costumi dell'epoca. Per questo ogni dramma doveva incontrare gusti diversi: quelli del soldato che voleva vedere guerre e duelli, quelli della donna che cercava amore e sentimento, quelli dell'avvocato che si interessava di filosofia morale e di diritto, e così via. Anche il linguaggio teatrale riflette questa esigenza, arricchendosi dei registri più vari e acquistando grande flessibilità espressiva.

Le tariffe minime non mutarono nel tempo: nel 1580, i cittadini più poveri potevano acquistare l'ingresso al Curtain o al Theatre per un penny; nel 1640 l'ingresso al Globe o al Red Bull costava esattamente la stessa somma, mentre l'ingresso per i teatri privati ammontava a cinque o sei volte tanto.

Esponenti

Gli autori

La popolazione in aumento di Londra, la ricchezza crescente di alcuni dei suoi cittadini e la crescente domanda di intrattenimento, frustrata dalla soppressione delle forme medioevali di spettacolo, produsse una letteratura drammaturgica di notevole varietà, qualità ed estensione. Il repertorio del teatro inglese si formò in un lasso di tempo brevissimo, seguendo la necessità di dover offrire sempre nuovi spettacoli (le cui repliche consecutive erano sempre molto limitate) nei nuovi teatri che venivano via via edificati. Malgrado la maggior parte dei testi scritti per il palcoscenico elisabettiano siano andati perduti ne rimangono oltre 600, a testimonianza di un'epoca culturalmente vivace.

Gli uomini che inventavano questi drammi erano anzitutto autodidatti di modeste origini, nonostante alcuni di essi avessero avuto un'istruzione a Oxford o a Cambridge. Non vi sono donne, per quanto si sappia, che scrissero per il teatro in quest'epoca, anche se vi furono un pugno di aristocratiche impegnate in testi teatrali da lettura (closet drama) o traduzioni drammaturgiche. Alcuni autori, come William Shakespeare, furono innanzitutto attori, tuttavia la maggior parte di essi non lo erano e a partire dal 1600 non è noto il nome di alcun autore che abbia calcato le scene come attore per arrotondare le proprie entrate.

Quella del drammaturgo era una professione impegnativa e tutt'altro che redditizia. Le voci sul diario dell'impresario Philip Henslowe mostrano che negli anni intorno al 1600 egli versava un minimo di 6 o 7 sterline per opera. Era probabilmente una tariffa bassa, anche se i migliori scrittori non potevano pretendere molto di più. Un drammaturgo, lavorando da solo, poteva in genere produrre per lo più due pezzi teatrali l'anno. Dato che gli autori guadagnavano poco dalla vendita delle loro opere, per vivere dovevano scrivere moltissimo.
In un unico anno, il 1598, Thomas Dekker lavorò su 16 collaborazioni per Henslowe, guadagnando 30 sterline, o un po' meno di 12 scellini a settimana, circa il doppio del reddito medio di un artigiano, uno scellino al giorno. I drammaturghi erano in genere pagati per stati di avanzamento nel corso della stesura e se infine il loro testo era accettato potevano inoltre ricevere i proventi di una giornata di rappresentazione. Essi tuttavia non godevano di alcun diritto d'autore su ciò che scrivevano: quando il testo era stato venduto a una compagnia, questa lo possedeva e l'autore non aveva alcun controllo sulla scelta degli attori o sulla rappresentazione, né sulle successive revisioni e pubblicazioni.

John Lyly, il primo drammaturgo elisabettiano a noi noto di una certa rilevanza, fu essenzialmente un autore di corte, poco interessato a sviluppare una drammaturgia adatta ad un pubblico popolare. Le sue opere erano destinate a compagnie di adolescenti che recitavano in teatri "privati" e le sue trame erano il pretesto per raffinate dissertazioni, scritte in un linguaggio ricercato. Il suo stile, detto eufuismo, incoraggiò la ricerca di un linguaggio ricco e colto, reso complesso da figure retoriche e da strutture simmetriche o ricorrenti. Un esempio della sua influenza sulla produzione successiva è la commedia shakespeariana Pene d'amore perdute.

Non tutti i drammaturghi corrispondono tuttavia alle moderne immagini di poeti o intellettuali: Christopher Marlowe fu ucciso nel corso di una rissa in una taverna, Shakespeare si accompagnava a personaggi dei bassifondi di Londra e arrotondava le proprie entrate prestando denaro, mentre Ben Jonson uccise un attore in duello. Molti altri furono probabilmente soldati. Forse in nessun'altra epoca il dramma è più reale e tocca la sensibilità di tutti: cospirazioni, assassinii politici, condanne a morte e violenza sono all'ordine del giorno, anche perché il Rinascimento è un'epoca di cambiamenti traumatici in tutta Europa. Per sfuggire alla censura i temi trattati sono sempre presentati come lontani o estranei, ma non mancano le fonti di ispirazione: in Italia, e soprattutto a Firenze, i complotti politici di palazzo e le guerre intestine hanno insanguinato le città, come si apprende dalle cronache e dalla novellistica italiana tradotta in inglese. Queste e altre vicende europee offrono ottimi spunti per rappresentare in modo esotico le tensioni con le quali convivono i cittadini del Regno. La grandezza dell'epoca contempla così la sua stessa crisi, che è anche la crisi e il tramonto definitivo dell'età di mezzo.

Marlowe compose opere su temi molto controversi, rompendo molti dei tabù dell'epoca. Nei suoi drammi, tramite allegorie ben dissimulate in vicende apparentemente lontane nel tempo - come è il caso dell'Edoardo II - egli affronta l'omosessualità, le guerre intestine per la conquista del potere, il regicidio. Tamerlano il Grande (Tamburlaine the Great, 1587) fu il dramma che lo consacrò all'attenzione del pubblico inglese, messo in scena dagli Admiral's Men durante la guerra con la Spagna e interpretato con successo da Edward Alleyn. Il trionfo del re barbaro che annienta regni di raffinata cultura interpretava i sinistri timori del popolo inglese nei confronti di Filippo II di Spagna e della sua costruenda Invincibile Armata. Questa modalità narrativa provocatoria, apparentemente innocente ma facilmente decodificabile dal pubblico, non fu sanzionata né censurata e fu il modello a cui si attennero i drammaturghi successivi nell'affrontare tematiche politiche.

Se le caratterizzazioni di Alleyn già avevano reso necessaria una scrittura teatrale che si affidasse e offrisse spunti al talento dell'attore, con Shakespeare si assiste a una più completa fusione tra il testo e la sua esecuzione. Shakespeare, a differenza di Marlowe, scrisse drammi corali, vere e proprie macchine teatrali in cui ogni personaggio contribuisce all'incisività dell'insieme. Non si affidò alla perizia del solo Richard Burbage (che pure fu in grado di veri e propri virtuosismi, innanzitutto vocali, alle prese con i personaggi maggiori) ma a quella di un gruppo affiatato. Si trattò del perfezionamento di un vero e proprio "artigianato teatrale", come già riconobbe la studiosa britannica Muriel Bradbrook nell'intitolare un suo studio, appunto, Shakespeare l'artigiano, nel quale la scrittura del copione procedeva di pari passo con il lavoro di palcoscenico, misurando i ruoli sugli interpreti, le cui doti migliori dovevano essere valorizzate nella costruzione dei personaggi. La maggior parte dei drammaturghi scrivevano, come Shakespeare, in versi.

Vita degli attori

Le compagnie di recitazione funzionavano sulla base un sistema di repertorio: a differenza delle produzioni moderne, che possono funzionare per mesi o anni di seguito, le troupes raramente recitavano lo stesso pezzo due giorni di fila. A Game at Chess di Thomas Middleton ebbe ben nove recite consecutive nell'agosto 1624 prima che fosse chiuso dalle autorità, ma ciò fu dovuto al contenuto politico del dramma e fu un fenomeno unico, senza precedenti e irripetibile. Considerando la stagione 1592 dei Lord Strange's Men al Rose in quanto più rappresentativa: tra il 19 febbraio e il 23 giugno la compagnia recitò per sei giorni alla settimana, meno il Venerdì Santo e altri due giorni, esibendosi in 23 opere differenti, alcune solo una volta, e 15 volte il loro pezzo più popolare della stagione, The First Part of Hieronimo (tratta da The Spanish Tragedy di Kyd).
Le compagnie non rappresentavano mai lo stesso spettacolo due giorni di fila e raramente lo stesso spettacolo due volte alla settimana.

Per costruire un personaggio vero, umanamente vicino alla gente, non era in uso l'abitudine, che diverrà via via prassi nel teatro romantico e nel teatro borghese, di una precisa fedeltà al periodo storico dal punto di vista scenografico e costumistico. Impiegare delle attrici era inoltre proibito dalla legge, e lo fu per tutto il Seicento, anche dopo la dittatura puritana. I personaggi femminili erano dunque rappresentati da adolescenti maschi, ma questo non diminuì il successo delle rappresentazioni, provato dai testimoni dell'epoca e dalle continue proteste contro le compagnie teatrali da parte degli amministratori puritani della City.

Solo la protezione accordata alle troupe dai prìncipi e dai reali - se l'attore vestiva la loro livrea non poteva essere infatti arrestato - poté salvare Shakespeare e i suoi compagni dalle condanne di empietà lanciate dalle municipalità puritane. I nomi di molte compagnie teatrali derivano proprio da questa forma di patrocinio: The Admiral's Men e The King's Men erano appunto "gli uomini dell'ammiraglio" e "gli uomini del sovrano". Una compagnia che non avesse avuto un potente sponsor alle spalle poteva andare incontro a serie difficoltà e vedersi cancellati gli spettacoli da un giorno all'altro.

A questi problemi si aggiungevano, per gli attori, i salari molto bassi.

Compagnie teatrali
 The Admiral's Men
 The King's MenLord Chamberlain's Men (La compagnia di Shakespeare)
 Queen Anne's Men
 Worcester's Men

Innovazioni rispetto al teatro continentale
L'era elisabettiana tuttavia non si limitò ad adattare i modelli: rinnovò felicemente il metro col blank verse, o pentametro giambico, che ricalca abbastanza fedelmente quello latino senechiano, liberando il dialogo drammatico dall'artificiosità della rima, mentre restò la regolarità dei cinque piedi del verso. Il blank verse fu introdotto dal Conte di Surrey quando nel 1540 pubblicò una traduzione dell'Eneide usando proprio questa forma metrica, ma si dovette aspettare il Gorboduc di Sackville e Norton (1561) perché esso entrasse nel dramma (e farà poi furore nell'epopea biblica di John Milton, il Paradiso perduto del 1667). L'idea di usare un metro simile era venuta al Surrey proprio dalla traduzione in versi sciolti dell'Eneide del Caro. Il teatro elisabettiano introdusse anche tutta una serie di tecniche teatrali d'avanguardia che vennero utilizzate secoli più tardi dal cinema e dalla televisione. Il palcoscenico inglese della fine del Cinquecento (soprattutto in Shakespeare) si serve di un frequente e rapido susseguirsi di scene che fanno passare presto da un luogo all'altro saltando ore, giorni, mesi con un'agilità quasi pari a quella del cinema moderno. Il blank verse gioca una parte non indifferente conferendo alla poesia la spontaneità della conversazione e la spigliatezza della recitazione.

La Poetica di Aristotele, che definì le unità di tempo e di azione (l'unità di luogo è un'aggiunta degli umanisti) nel dramma, riuscì ad imporsi meglio nel Continente: solo alcuni classicisti di stampo accademico come Ben Jonson ne seguirono alla lettera i precetti, ma questi personaggi non hanno la vita di quelli di Shakespeare, rimanendo (soprattutto nel caso di Jonson) dei "tipi" o delle "maschere". Fu proprio grazie alla rinuncia delle regole che il teatro elisabettiano poté sviluppare quelle forme nuove nelle quali Shakespeare, Beaumont, Fletcher, Marlowe e molti altri trovarono campo fertile per loro genio.

Modernità e realismo dei personaggi

La rilettura elisabettiana dei classici portò dunque una ventata di innovazione a storie ormai millenarie, esaltando anzi le qualità universali dei grandi personaggi storici o leggendari. Oltre allo stile e alle tecniche, anche le tematiche sociali sono affrontate in modo moderno, in tutta la loro complessità psicologica infrangendo consolidati tabù sociali (sessualità, morte, cannibalismo, follia). Si pensi all'amore "proibito" tra Romeo e Giulietta, due ragazzi di quattordici anni che decidono in pochi giorni di sposarsi e fuggire di casa; si pensi alla rappresentazione del suicidio degli amanti. Nel Re Lear l'abbandono del vecchio re da parte delle figlie è il tema dominante. Qualità queste che, lungi dal "peggiorare" i personaggi, li rendono più simili a noi, dimostrando come questa epoca ci tocchi ancora profondamente.

Il teatro nel teatro

Che il teatro elisabettiano sia un "teatro aperto" non solo nel suo significato più letterale sembra dimostrato anche dal senso di autoironia degli attori e dei drammaturghi elisabettiani. L'attore ama parlare al pubblico "tra le righe", magari per prendere in giro il personaggio stesso che sta recitando, anticipando il distacco ironico del teatro di Bertolt Brecht. Per questo genere di attore il drammaturgo elisabettiano inventa il teatro nel teatro. Lo si è visto nella maschera de La tempesta, ma l'esempio più emblematico è forse quello dell'Amleto, in cui il giovane erede al trono di Danimarca ingaggia una troupe di attori itineranti per fare rappresentare di fronte agli occhi di Claudio, sospettato di avere ucciso suo padre, un dramma che ne ricostruisce il presunto assassinio. Al finale a sorpresa Claudio si alza sconvolto e terrorizzato, lasciando la corte. Da qui il giovane Amleto si convincerà della colpevolezza del patrigno, architettando la sua uccisione. Anche la versione originale de La bisbetica domata è strutturata come un teatro nel teatro: la commedia si apre infatti con la scena nella quale l'ubriacone Sly viene convinto da un Lord di essere in realtà un ricco signore addormentato per anni, e viene quindi invitato a vedere una rappresentazione di attori girovaghi dal titolo "La bisbetica domata".
Potremmo trovare tanti altri esempi di questo tipo tra gli elisabettiani, in seguito ripresi con successo con il "cinema nel cinema", ma anche col "teatro nel cinema".

Influenza nei secoli
Mentre il teatro elisabettiano conservò la sua semplicità strutturale, quello continentale, sull'esempio italiano, diventava dipendente dagli effetti speciali (si pensi alle macchine da scena e perfino agli automi inventati da Leonardo). Da qui al teatro "illusionistico" moderno il passo fu breve. Vero è che a partire dal Novecento numerose sono state le avanguardie che hanno introdotto soluzioni nuove (come il Futurismo, il Dadaismo, il Surrealismo e il Bauhaus), ma raramente il grande pubblico si è sentito coinvolto da queste iniziative e si può dire che resti ancora molta strada da percorrere per portare nel teatro la popolarità del cinema e della televisione.

Un teatro che si fa cinema

Che il teatro elisabettiano e Shakespeare in particolare fossero in anticipo sui tempi pare dimostrato - affermò Anthony Burgess - dal successo delle trasposizioni cinematografiche e delle drammatizzazioni televisive, quasi quei drammi fossero stati scritti proprio per lo spettatore moderno. È noto il successo del Romeo e Giulietta di Zeffirelli (1968). Paradossalmente, tale adattabilità al cinema sembra essere dovuta proprio all'eredità medioevale lasciata dai misteri, dai miracoli e dalle moralità, rappresentazioni di carattere popolare che si svolgevano prima sul sagrato delle chiese e poi nelle grandi piazze o nelle fiere. Lì la mancanza di fondali e costumi teatrali riponeva il successo della rappresentazione nelle mani dell'attore. La necessità di improvvisazione (spesso aiutata da un pizzico di umorismo) insieme alla mancanza di architetture teatrali sofisticate più che mettere l'attore in crisi lo liberarono dalle eccessive costrizioni della messa in scena mentre alla mancanza di effetti speciali supplì l'invenzione poetica ricreando nelle sue ricche descrizioni, un po' come avviene per la radio rispetto alla televisione ciò che "mancava", arricchendo oltre misura il linguaggio drammatico.

Ecco alcuni film tratti dal teatro elisabettiano:

Shakespeare
 Macbeth (1971)
 Shakespeare in Love (1998)
 diversi film tratti dal Re Lear
 Romeo e Giulietta, di Franco Zeffirelli (1968)
 The Tempest (1979)
 Hamlet (1996)

Marlowe
 Il dottor Faustus (Doctor Faustus, 1967)

Ben Jonson
 Il volpone

Note

Bibliografia

Critica

Opere teatrali

Voci correlate

Voci generali
 Età elisabettiana
 Teatro
 Teatro (architettura)
 Teatro inglese
 Letteratura inglese

Luoghi di interesse
 Stratford-upon-Avon
 Londra
 Inghilterra
 Regno Unito
 Pinewood Studios

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
Writes James Stewart on May 5, 2016
KIM KARDASHIAN – A LEGENDARY BUSINESSWOMAN?
She was catapulted to fame through a leaked porn film and she's the person everyone loves to hate. But is her ever-soaring success proof that she's planned this all along?
I've always been fascinated by Kim Kardashian, particularly because she's the kind of person I'd normally dismiss as a talentless attention seeker. Yet there's no doubt that the world's interest in this woman is not subsiding any time soon.
So, what is it? Are we all just gullible fools, or is she a marketing genius akin to Steve Jobs? I can't believe I'm writing this… But I think it's the latter!
We're constantly talking about her.
Whether it's to dis her latest photo shoot or discuss her pregnancy-induced cankles, Kim is always… everywhere. The tabloids report her every move, the magazine covers detail her style evolution, and the internet shares, likes, reacts and buys into everything she's involved in. Whether it's her sofa-inspired outfit for the MET Gala ball or when she tried to break the internet with her Paper Magazine shoot, she's proven that she's the queen of the World Wide Web.
She invests heavily in brand Kardashian.
Her app 'Kim Kardashian: Hollywood' made some $43m in just three months. That's $43m spent by people to virtually live life out like Kim Kardashian. I've no clue who came up with the concept, but she must have had the best team of developers money can hire. Oh, and let's not forget the infamous 'first kiss as a married couple' Instagram photo she uploaded, which raked in 2.4million likes! It took days to finalise, but it was definitely worth it!
She knows who to befriend.
Kim is by no means a fool. Throughout her highly documented life, she's been seen with some of the most influential people in the world. Whether it's her sorting out Paris Hilton's closet back in the early 2000s, to sitting next to US Vogue editor Anna Wintour, hanging out with Beyonce and Jay Z, or having dinner with John Legend and Chrissy Teigen, she ensures she's always seen with the best of the crop. What does that do? Well, if someone as respected as Anna Wintour thinks Kim is worth spending time with, then surely she must be good at something… No?
She's turned her whole family into stars.
When Robert Kardashian died, he left his family a $100m legacy. That, by all means, gave the Kardashian-Jenners a very good footing. But money alone doesn't bring in more fame and success. You need to be able to invest wealth wisely in order to take things to the next level. Yet… It was definitely Kim's porn film that turned the Kardashian dynasty into a household name, and through their reality show, Keeping Up with the Kardashians, the whole clan – including the younger Jenner siblings – is now worth millions. However, notice how none of them can be mentioned without Kim K's name being dropped.
Photo from cosmopolitan.com
There are many reasons why Kim Kardashian is hated and not respected. But don't be foolish enough to think she's dumb. After all, she made millions out of being photographed, filmed getting dressed, and an app that lets you live like her.
What do you think? Is Kim Kardashian a businesswoman?
Let us know in the comment section below.


text:
Parliaments & Representatives
Advocacy & Lobbying
Resources on Gender-sensitive Responses to COVID-19
As the impact of COVID-19 intensifies globally, we have curated a selection of resources and information on gender-sensitive responses and women's leadership in times of pandemic. You will find a list of relevant resolutions, useful tools, virtual meetings, and calls and stories from the frontlines of the institutional and policy responses to the pandemic and its effects.
This page will be regularly updated with new resources from our partners and other institutions providing gender-sensitive support and guidance.
The European Parliament adopted a resolution addressing EU coordination on the COVID-19 pandemic response calling the European Commission and Member States to prioritize aid and crisis-mitigation measures for the most vulnerable citizens, women in particular. Click here to see it.
The Latin American Parliament (Parlatino) adopted a resolution calling for gender mainstreaming in response to the COVID-19 pandemic and ensuring participation of women in decision-making at all levels. Click here to see it.
We recently hosted an e-Discussion on women's leadership in the COVID-19 response in Arabic, English, French, and Spanish to raise awareness on the importance of including women's voices and of gender-sensitive responses to the crisis and to collect good practices and recommendations from members of our network. Click here to see the e-Discussion in English and here to read the summary.
The UN Secretary-General issued a policy brief that explores how women and girls' lives are changing in the face of COVID-19, and outlines suggested priority measures to accompany both the immediate response and longer-term recovery efforts. Click here to see it.
UN Women is working with partners to bridge the gender data gap and deliver a more accurate picture of the gender dimension to the COVID-19 response so that it can be more effective for women and girls. Click here to see the data.
This UN Women issue brief highlights the impact of the current global pandemic on violence against women and girls and makes recommendations to prevent and respond to this phenomenon, at the onset, during, and after the public health crisis. Click here to see it.
The Inter-parliamentary Union published a guidance note for parliaments that includes recommendations on women's participation and leadership in parliamentary decision-making on COVID-19, gender-responsive COVID-19 legislation, and government action oversight on the pandemic from a gender perspective. Click here to see it.
The UN Women office for the Americas and the Caribbean developed an informative brief with recommendations on how to incorporate women and gender equality in the crisis management response. Click here to see it.
The UN Committee on the Elimination of Discrimination against Women (CEDAW Committee) has issued a detailed guidance note on a range of measures that governments should take to uphold women's rights as they respond to the COVID-19 pandemic. Click here to download it.
Talk on "Gender and Covid-19": Why do more men die from the virus than women? And why isn't this fact impacting research into a vaccine in the U.S.? Hosted by Francesca Donner, gender director at The Times and editor of the Times newsletter In Her Words, this talk provides answers to these pressing questions with Caroline Criado Perez, author of the award-winning book "Invisible Women" and Alisha Haridasani Gupta, gender reporter for In Her Words. Listen to the conversation here.
Talk on "Leadership in a Time of Crisis": What does good leadership in crisis look like? In this time of unprecedented challenge related to COVID-19, what can we learn from the great leaders of the past? In this webinar conversation, experts explored these and other key questions about leading in a time of crisis. Click here to access the recording.
Talk on "Why We Need to Make Women Visible": Fawcett Society hosted on 7 April an online conversation with prominent gender equality advocates and leaders about how Coronavirus is affecting women and girls in the UK and why we need to make their experiences more visible. Click here to watch it.
Upcoming conversation with Former President of Ireland Mary Robinson and Halla Tómasdóttir on 16 June 2020 at 9:30 AM – 10:30 AM EDT: The COVID-19 pandemic is an extraordinary test of leadership, and women in global leadership positions are rising to meet the challenge. This session will feature former President of Ireland Mary Robinson and Halla Tómasdóttir — a former candidate for President of Iceland, CEO and entrepreneur — in a dynamic discussion on Leadership in Times of Crisis: Lessons From Women World Leaders. To learn more about the event and to register, please go here.
Upcoming seminar entitled "Leadership in crisis: What do we expect from leaders during the Covid-19 pandemic?" on 25 June 2020 at 10:30 AM – 11:30 AM EDT: It's rapidly becoming clear that Covid-19's effects are gendered in complex ways, in ways that can either reinforce or challenge existing inequalities. Leadership is one of the most visible arenas for observing this. This seminar focuses on leading, leaders, and leadership, asking questions and looking for hope. To learn more about the event and to register, please go here.
Calls and news
The United Nations Secretary General António Guterres urged governments "to put women and girls at the centre of their efforts to recover from COVID-19," reminding them that women's leadership and equal representation and decision-making power is key. Click here to learn more.
Thirty-six women leaders from all over the world signed a letter to the President of the United Nations Security Council José Singer Weisinger urging for global action in response to the greatest peacetime challenge that humanity has faced. Click here to learn more.
The Secretary General of the Inter-parliamentary Union Martin Chungong and the Secretariat of the International Gender Champions co-published an opinion piece reflecting on the gendered implications of the current COVID-19 pandemic and proposing solutions to counter the negative effects on women and girls. Click here to read it.
The Socialists and Democrats, together with the leaders of the Party of European Socialists and its women's organization PES Women sent a letter to the European Commission President Ursula von Der Leyen, calling for a proactive gender-sensitive response to the crisis. Click here to learn more.
Dubravka Šimonović, the United Nations Special Rapporteur on violence against women, its causes and consequences, issued a call to receive information on the increase of gender-based violence against women and domestic violence in the context of the COVID-19 pandemic. Click here for more information.
The CEDAW Committee calls on governments and multilateral institutions to ensure women's equal representation in formulating responses to COVID-19 and strategies to recover from the crisis. Click here to download the statement.
With an open letter, Deliver for Good, a network of more than 500 supporting organizations committed to championing gender equality, calls on governments to apply a gender lens and put girls, women, and gender equality at the center of COVID-19 preparedness. Click here to learn more.
What do countries with the best coronavirus responses have in common? Women leaders, answers Forbes in a recent article. From New Zealand to Iceland, women leaders are showing a novel way of dealing with a crisis. What are they teaching us? Click here to find out.
How to prepare and respond to COVID-19? Leaders of cities, states and countries faced an unprecedented test. The ones who passed this test with flying colors are disproportionately women. This is despite the fact that they make up only 7% of heads of state. Click here to learn more.
"Rise for All" is a new initiative that brings together women leaders to mobilize support for the UN Recovery Trust Fund and the UN roadmap for social and economic recovery, as laid out in the new United Nations Framework for the immediate socio-economic response to COVID-19. Click here to see their video message.
For more resources and news on COVID-19 and gender equality, please go here.
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text:
Cruises for the Elderly
Mark Heidelberger, Leaf Group
Cruise liners often provide satisfying vacation opportunities for seniors. (Photo: cruise ship leaving image by Paula Gent from Fotolia.com )
Hawaii Cruises From Honolulu
Cheap Ocean Cruises
Royal Caribbean Cruises of the Mediterranean
Royal Caribbean Cruises for Fall
Cruise vacations are a fashionable way to escape from the monotony of everyday life, growing in popularity over the years, particularly with seniors, according to the Maps of World website. When looking for a cruise line, many travelers over 60 seek high levels of comfort, flexible itineraries, a leisurely pace, and exotic or tropical destinations. Taking these factors into account, the Cruises and Seniors web site reviewed and assembled a list of several cruises that are both friendly to elderly travelers and exciting for them as well.
Royal Caribbean International - Monarch of The Seas - 3 Night Baja Mexico Cruise
The Monarch of the Seas was one of the world's first "superliners," built in 1991 to hold as many as 2,744 passengers and featuring a large open atrium, themed rooms, glass elevators and an elegant multi-level dining room. Seniors can enjoy a short, slow-paced getaway from Southern California to Ensenada at the top of Mexico's Baja Peninsula over the course of four days and three nights. In Mexico, a full-day land excursion affords travelers the opportunity to play golf, go horseback riding, take a wine-tasting tour, or visit local shops and restaurants. While onboard, passengers can swim or get sun around two swimming pools, relax in the whirlpools, play poker and blackjack in the casino, or get pampered in the full service spa. Meal options range from formal dining to a Ben and Jerry's ice cream parlor to a food court with sushi, tacos and customizable pizzas. Cozy guest rooms feature a private bath, vanity, television and twin beds that can convert into a queen.
1050 Caribbean Way
royalcaribbean.com
Celebrity Cruises - Celebrity Xpedition - 7 Night Galapagos Islands Cruise
Celebrity Cruises offers a seven-night ocean adventure to the exotic Galapagos Islands, which sit approximately 600 miles west of Ecuador in the Pacific Ocean. The more intimate Xpedition, launched in 2001, has a maximum occupancy of 92 people and is a mere 296 feet in length. Passengers will first fly to the islands, where they will embark from Baltra on a laid-back trip to numerous Galapagos ports of call such as Urvina Bay, North Seymour, Bartolome, Baroness Outlook and San Cristobal's Kicker Rock. Land excursions allow seniors to mix with friendly indigenous people, feast on local cuisines, spy the rare iguanas at Dragon Hill, or take a sightseeing tour around Isabela's Sierra Negra Volcano. Recreation on the ship includes a beauty salon, hot tub, sauna and sun deck as well as two cocktail bars and a lounge where a naturalist provides nightly lectures on what can be expected at each stop. Tastefully appointed staterooms all feature two convertible lower beds, comfy sitting area and ocean views.
celebritycruises.com
Norwegian Cruise Line - Pride of America - 7 Night Hawaii Cruise
Norwegian's 921-foot long Pride of America features 14 restaurants, nine bars, a grand atrium with a soaring Tiffany-glass dome ceiling, and a maximum occupancy of 2,135 passengers. The seven-night Hawaiian cruise starts in Honolulu on the island of Oahu before taking off for Maui, Kauai, and the cities of Kona and Hilo on the Big Island. Featured shore excursions include the Pearl Harbor Memorial, Volcanoes National Park, Haleakala Crater, Waimea Canyon and Luau Kalamaku. Between ports of call, more active seniors can engage in an array of onboard activities, with tennis courts, swimming pools, a golf driving net and a walking track; others can play cards in the gaming room, browse the gift shops and art gallery, catch a Broadway-style show in the theater, or enjoy rejuvenating body treatments in the ship's Santa Fe Spa. Accommodations range from modest inside staterooms to ocean-view rooms with French windows to large suites with private balconies, whirlpool tubs and butler service.
7665 Corporate Center Dr.
ncl.com
Cruises and Seniors
Cruise Critic: Best Cruises for Seniors
Maps of World: Senior Cruises
Independent Traveler: Senior Travel
Mark Heidelberger has been writing for more than 22 years, from articles and short stories to novels and screenplays. He is a consummate foodie, loves to travel and has run several businesses, all of which influence his work. He also holds a Master of Fine Arts degree from UCLA.
cruise ship leaving image by Paula Gent from Fotolia.com
Heidelberger, Mark. "Cruises for the Elderly." Travel Tips - USA Today, https://traveltips.usatoday.com/cruises-elderly-18478.html. Accessed 15 July 2019.
Heidelberger, Mark. (n.d.). Cruises for the Elderly. Travel Tips - USA Today. Retrieved from https://traveltips.usatoday.com/cruises-elderly-18478.html
Heidelberger, Mark. "Cruises for the Elderly" accessed July 15, 2019. https://traveltips.usatoday.com/cruises-elderly-18478.html
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The Czech Republic is a red-hot European destination, and the charms of Slovakia are slowly being discovered by Westerners as well. The two countries share fundamental similarities in language and culture, but they never really managed to create a common national Czechoslovak identity, after being merged in 1918 when the Austro-Hungarian Empire collapsed. With the lifting of the Iron Curtain in 1989 through the Velvet Revolution and the final breakup of Czechoslovakia in to two countries in 1993, this up-to-date, substantive insight is much needed. This volume overviews the current social, cultural, and political scene of both countries, so that general readers come away with a solid understanding of where the Czechs and Slovaks have been and where they are going.
The land, people, and history chapter lays the groundwork for the rest of the narrative. In the chapter on religion and thought, the reasons for the widespread atheism of the Czechs and the contrasting religiosity of the Slovaks are explained. Both peoples are shown to have relaxed attitude toward life and a love of celebrations, with a strong beer culture. The state of women and family and feminism in the post-Soviet era is also discussed and readers will learn about the role of romance novels and the Czech Cosmopolitan. The literature chapter emphasizes the Czech sense of humor and the lack of translations of Slovakian works. The crises in journalism and cinema are other important topics. Finally, the strong traditions of theater and music, which have always been part of the Czech national consciousness, are seen to be as alive and vibrant as in any place in the world.
This work accurately presents life as it is in Czech.
THE ONLY SOURCE FOR CURRENT CZECH AND SLOVAK INFO!!!
18. Status of National Environmental Action Programs in Central and Eastern Europe: Case Studies of Albania, Bulgaria, the Czech Republic, Croatia, Hungary, ... Romania, the Slovak Republic and Slovenia.
This work focuses on the impact of human activity on the geological environment and contains over 100 papers dealing with laboratory and field research investigations in geomechanics, geoengineering and mathematical modelling. Topics covered are grouped into eight main themes: response of the rock mass to human impact; slope stability; field research; laboratory research; stability of underground openings; mathematical modelling; stress measurements, and mineral and rock disintegration.


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